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SEET-
HOVEN

mm THE HOROSCOPE.

(On Beethoven).

Thou shalt go darkling all thy days
With brooding heart,
Thou shalt go bitterly thy ways,
Bowed and apart.

Thy sleepless bed shall be a rack

Of twisting pain.

Where thy taut soul shall burst and break

In gasping strain.

Thou shalt be scorned of the grim gods
When silence shuts thee round,
Thou shall be mocked in all thy prayers
With dreams of sound.

Long loneliness shall be thy part,
Despair be long,

And thou, for this, lo! thou shalt take
Thine hour of song.

D.T.MCAIN5

» Presented to the

LIBRARY of the
UNIVERSITY OF TORONTO

THE ESTATE OF THE LATE
MISS LILLIAN M. DENT

UNIVERSITY OF TORONTO

EDWARD JOHNSON
MUSIC LIBRARY

(JJiu0tctdn0

EDITED BY
FREDERICK J. CROWEST

A Passage in the Fifth Symphony.

Beethoven

Frederick J. Crowest

Author of
"The Great Tone Poets," &c., &c.

With
Illustrations and Portraits

London : J. M. Dent & Sons Ltd.

New York : E. P. Button & Co.

1911

c-
1103

First Edition 1899
Reprinted 1901, 1903, 1904, 1908, 1911

Preface

No fault will be found in the choice of the subject of this
book as the initial volume of the "Master Musicians"
Series. Beethoven has been the theme of many writers,
which is not unaccountable when we consider his extra-
ordinary personality, and the enormous reach of his musical
works and influence. Among all the Beethoven literature,
however, it has been difficult to find a handy volume, at
once illuminative and concise — a book which, while it
would appeal to the average musician, would provide the
larger public of ordinary readers with a complete and
proper view of the immortal master. It is hoped
the present work will meet this deficiency. I trust the
result of my effort will be to induce readers, especially
young people, to make themselves more and more
acquainted with the life and works of the mighty
Beethoven — one of the greatest intellects who have
ever graced the earth.

THE AUTHOR.
24 AMPTHILL SQUARE,
LONDON, N.W.

Contents

BIOGRAPHICAL

Birth and Parentage— Earliest Training— First Appointment — Interview
with Mozart — Teacher — Pupil of Haydn and others — A Virtuoso —
First Benefit Concert — A Pupil in Czerny — Idol of Vienna — Becomes
Deaf — Forsakes Playing and Conducting — Financial Embarrassments
— In Love — Harassing Times — Adopts his Nephew — Tries Law-Phil-
harmonic Society's Negotiations — Mass in D — Rossini Furore —
Gloomy Forebodings — Work and Suffering — Visits his Brother — Host
and 'Guest — The Coming End — Final Scenes — Death and Burial . x

BEETHOVEN : THE MAN

A Foremost Personality — Physical Appearance — Man and Mind — Character-
istics— Fondness for Joking — An undesirable Lodger — Some of the
Lodgings — Troubles with Servants — A Bohemian's Den — As a Lover
— Female Attachments — A Postilion if Amour — Temperament and
Disposition — Affection for his Nephew — Good Traits — Receives
Schubert — Opinions on fellow-Musicians — Beethoven and the Pro-
fessors— A bad Man of Business — Intellectuality in Musicians —
Beethoven Maxims — The "Letters" — His Politics — Dismisses
Napoleon — Rates Goethe — Habits of Abstraction — Portraits — Masks,
Busts and Monuments — No Formal Religionist — Purity of Life —
Worthy De«ds 48

BEETHOVEN : THE MUSICIAN

Sublimity of Style and Expression — Student Application — Head and Hand
Worker — Early Productiveness — Clamourings for Freedom — Juvenile
Compositions — The Musical Hour — Beethoven the Pianist — The
Composer — As Conductor — First Symphony— Mount of Olives and
Prometheus — Second Symphony — "Kreutzer" Sonata — "Eroica"
Symphony — Concerto in G— Fidelia — Fourth Symphony — C Minor
Symphony — Sixth Symphony — Sees to Business — Seventh Symphony
— Eighth Symphony — Political Outpourings — Ninth Symphony—

vii

Contents

PACK

Last Quartets — As a Sacred Music Composer— Mass in C— Mass in
D — Rise of the Orchestra — Orchestra as found by Beethoven —
Orchestral Variety — Instrumental Influence — Wagner on Beethoven's
Orchestration — Manns on Wagner — Wagner "additions" to Beet-
hoven— Metaphysical Qualities of the Music — Humanity of his Music
—Legitimacy of Style and Practice — Expansions of Forms — Pains-
taking Workmanship — As a Chamber-Music Composer — Symphonist
and Sonatist — Characteristics of Style and Diction — Beethoven's
"Three Styles"— Followers . . . . . .118

APPENDIX A
Bibliography . • .....,• 353

APPENDIX B

List of the Published Works of Beethoven founded on Nottebohm's 266
Thematic Catalogue, etc. . . . . . .

APPENDIX C
Principal Incidents in the Life of Beethoven ..... 287

APPENDIX D
Beethoven Personalia and Memoranda ...... 292

Vlll

List of Illustrations

PAGE

A. KLOEBER'S PORTRAIT OF 1817 . Frontispiece
BEETHOVEN'S BIRTHPLACE (from a drawing by

Herbert Railton) . . . . . 12

ROOM IN WHICH BEETHOVEN WAS BORN (from

" The Musical Times ") . . .22

BEETHOVEN'S DEATHPLACE (drawn by Herbert Rail-
ton from a sketch kindly lent by Herbert
Thompson} ...... 39

LYSER'S SKETCH OF BEETHGVEX ... 50
PORTRAIT AT AGE OF THIRTY-ONE . . -71
CAST OF BEETHOVEN'S LIVING FACE, 1812 . . 78

PORTRAIT BY ROBT. KRAUSSE AFTER THE ORIGINAL

OF WALDMULLER AND THE CAST OF HIS FACE . 104

BEETHOVEN'S LAST GRAND PIANO BY GRAF, VIENNA 132

Illustrations

FACSIMILE OF " BROADWOOD " LETTER (reduced,

from "The Musical Times"} . . . 144

MS. FROM A FLAT MAJOR SONATA, Op. 26 . 170

BEETHOVEN'S WATCH (reduced, from " The Musical

Times"} ...... 227

PORTRAIT OF BEETHOVEN'S FATHER (from " The

Musical Times"} ..... 236

PORTRAIT OF BEETHOVEN'S MOTHER (from '•'•The

Musical Times"} . . . . 246

Biographical

Birth and Parentage — Earliest Training — First Appointment — Inter-
view with Mozart — Teacher — Pupil of Haydn and others — A
Virtuoso — First Benefit Concert — A Pupil in Czerny — Idol of
Vienna — Becomes Deaf — Forsakes Playing and Conducting —
Financial Embarrassments — In Love — Harassing Times —
Adopts his Nephew — Tries Law-Philharmonic Society's Negotia-
tions— Mass in D — Rossini Furore — Gloomy Forebodings —
Work and Suffering — Visits his Brother — Ho§t and Guest — The
Coming End — Final Scenes — Death and Burial.

LUDWIG VAN BEETHOVEN was born at Bonn, on the
Rhine, on December 17th,1 1770. The house was
No. 515 Bonngasse, and is now distinguished by a

tablet, which was placed thereon in 1870. „. .,

c . , , f ',. Birth and

He came of good musical stock, for his „

father and grandfather were both Court
musicians. Johann Beethoven, tenor singer, took unto
himself a wife on November i2th, 1767, in the person
of Maria Magdalena Leym, a widow. Of this pair the
wonder-musician, the greatest probably the world will
ever see, was born. He stood the second of a family
of seven — five sons and two daughters — of whom he
alone rose to eminence. The parents were of opposite

1 Some authorities give the 1 6th, from the continental custom of
baptizing the day after birth.

Beethoven

temperaments — the father being as sour in disposition
as the mother was sweet. One result of this was that
young Ludwig adored his mother and feared his father
— the latter a rather unfortunate circumstance, inasmuch
as he was to come a good deal under the paternal
influence.

The Beethovens were very respectable but poor. The
" Van " in the name was no sign of nobility, and less than
£$o per annum — the father's salary in the Elector of
Cologne's Chapel — was the slender income upon which
the family had to subsist. Little wonder that the head
of the household ruled with a stern — even cruel hand.
Who could be complaisant in face of such a condition
of ways and means ? That he fell betimes into irregular
habits, though eminently undesirable, was not surprising.
Granted, then, he was a severe cross-grained parent, with
an irascible temper, faults which made the humble home
less comfortable than it should have been for the great
mind sharing its roof. Never would it be Beethoven's
portion, in after years, to enjoy that priceless blessing,
the consoling retrospect of a happy childhood.

The burden of poverty which the Beethovens supported
was not altogether an unmixed evil, inasmuch as but
for stress of domestic conditions this second child would
T-. ,. not, probably, have received so large a share of

™ . . the parent's musical ministrations. Inspired

* by what had been accomplished by the father
of Wolfgang Amadeus Mozart as a musical " wonder,"
however, Beethoven senior set about the shaping of an-
other harmonic prodigy. The incentives were eminently
favourable. Penury stared in the family's face, and here
was a child with pronounced musical ability. His com-

A Promising Pupil

mercial value was gauged therefore ; and to this circum-
stance, mainly, the world owes its heritage of Beethoven.
The father took the little fellow in hand, and kept him
to music practice and exercises almost unceasingly. Some
small accompaniment of general education crept in through
one of the common schools, but this terminated ere the
boy had reached his thirteenth year.

Beethoven was four years old when he began to study
music, and at the age of nine he had learned all that his
father had to teach him. This consisted of instruction
in the piano, violin and harmony, all which the quiet,
grave child learned readily — though not without frequent
reproach and cuff from the harsh parent. He came also
under the notice of Pfeiffer and Zambona. The former,
a boon companion of the father's, continued the boy's
musical education — Zambona, meanwhile, teaching him
some Latin, French and Italian. Subsequently, Van den
Eeden and Neefe took young Beethoven in charge. They
instructed him in organ-playing and musical theory ; and
from this time his artistic progress was very marked. His
talent for composition increased, he even earned some
money by a short musical tour to Holland, while his
playing had so advanced that at eleven and a half years
of age he acted as Neefe's deputy organist in the Elector's
Chapel. Then, even, Neefe could write of his pupil as
" playing with force and finish and reading well at sight."
Nor was the master far wrong when prophesying, " If he
goes on as he has begun he will become a second
Mozart." Neefe undoubtedly was proud of his pupil,
although in later years Beethoven discounted both the
association and instruction.

In 1783 Beethoven went another step forward ; he was

Beethoven

appointed accompanist or deputy conductor of the Opera
band. This, like his deputy organistship, brought him

-. . no salary, albeit there was much useful work
First ,

*..•, to be done and experience to be gained there-

Appoint- , Ti . .

fr by. It is a pleasant surprise, therefore, at this

juncture to find friends, like the Van Breunings
and Cresseners, stepping in and helping the family with
funds, for Beethoven the elder's position had not improved.
The Bonn folks, however, were growing interested in
Ludwig. In 1784 the Elector Max Frederick appointed
him second Court organist, and shortly afterwards Elector
Max Franz, brother of the Emperor Joseph II., confirmed
the appointment with the salary of ^15 per annum, at the
same time entertaining serious doubts whether he should
not dismiss Neefe and appoint Beethoven chief organist.
About this time the Elector remodelled his band, and
formed a national opera. Beethoven played the Viola
therein ; Reicha, Ries and Romberg were also members.
In 1787 — Beethoven was now seventeen years old — he
and Neefe parted. A great art step had been planned.
Beethoven had decided to present himself in the musical
capital of the world — Vienna, His patron, Elector Max
Franz, favoured the scheme and generously provided the
young musician with the necessary funds for the journey.
Mozart resided at Vienna, and to come face to face with
this master musician was the chief object of the visit.
Mozart was Beethoven's senior by fourteen years, and
there was then a vast disparity in their reputations — a
disproportion which was later on to be widely altered
musically.

The initial interview between the two sons of art appears
to have been distinctly formal, as, indeed was best, re-

Death of his Mother

membering the genius of the two musicians. Trustworthy
details have not come down, although a good ,.
deal of fanciful colour has been thrown around
the meeting. Mozart was not opposed to M t

the introduction, but the onus probandi —
the burden of proving his case — rested with Beethoven.
Here is the accepted story : Mozart, sceptical of the
power attributed to young Beethoven as an improvisatore,
permitted him to play, but assuming that he had come
armed with a prepared piece gave little heed to it.
Beethoven seeing this requested Mozart to give him a
theme upon which to extemporise. This took the shape of
a " fugue chromatique subject " and combined the counter
subject of another fugue — a trap which the aspirant did
not fail to detect. The boy Beethoven sat down excitedly,
but played so effectively that Mozart stepped softly into
the next room and whispered to his friends, " Pay attention
to him, he will make a noise in the world some day."
Such was the independent verdict of the great Mozart —
the then idol of the musical world, after watching with
speechless wonder the winding up, amid a labyrinth of
melodies, of the themes which he had given out to the
great unknown from Bonn. The venerable Abbd Stadler
was present at this interesting scene, and told the story to
Lenz.

Beethoven stayed only a short time in Vienna, for he
received news of his mother's serious illness. He arrived
home just in time to see her breathe her last after a long
battle with consumption. Writing to a friend, Dr Von
Schaden at Augsburg, — from which letter we get a glimpse
of the inner mind of the young genius at this time, — he
said, " She was indeed a kind mother to me, and my best

Beethoven

friend. Ah ! who was happier than I when I could still
utter the sweet name of mother, and it was heard ! To
whom can I now say it ? Only to the silent form which
my imagination pictures to me." This same year he lost
his sister Margaretha.

Some five years of teaching drudgery now confronted
Beethoven. With the passing of his boy's mother, Johann
Beethoven, the father, went from bad to worse — his
~ drinking propensities increasing until matters

T , eventuated in the Court authorities declining

further to entrust him with money. More than
once, we learn, the struggling son was met importuning
the police for the corpus of his helplessly-intoxicated father.
Withal, the young genius set to work manfully, and al-
though he disliked teaching, managed by its means and
by occasional playing in public to keep the home together.
Fortunately, he speedily found friends willing to help him,
the Breunings, Count Waldstein, the Archduke Rudolph,
Baron Van Swieten and others. The Breunings particu-
larly made much of Beethoven, treating him as one of the
family. It was under their roof indeed that he acquired
the culture and superior tastes, although he was always
a natural nobleman, which the surroundings of his own
home denied him. Count Waldstein, particularly, was
kind, presenting him with a pianoforte and hard cash,
the latter being very much needed.

In 1792 a great event took place. Beethoven visited
Vienna for the second time. As matters transpired he
was turning his back finally upon Bonn, his home, his
good friends, and the charming Babette Koch, daughter
of the proprietress of the Zehrgarten where he took his
meals. It was the political changes in Germany, con-

Leaves Haydn

sequent on the French Revolution, which compelled him
to alter his plans. He never returned to the Rhine.
Two younger brothers soon followed him to Vienna.
Obliged, though himself so young, to take up towards
them the duties of both father and educator, his whole
heart went out to his charges, and was, as he himself
expresses it, "from childhood filled with sentiments of
benevolence." However badly the boys behaved towards
him they had only to shed a few tears and all was soon
forgotten ; he used to say at such times of either, " He is,
after all, my brother." l

The Elector, awakened to a sense of the exceptional
talent of young Beethoven, had ordained that he should
repair to Vienna to complete his musical education. He
was fortunate enough to engage the attention „ ., f

of Haydn, and of such an excellent theorist -a- j j
AIU 1.^ u j u ^L 1.- Sayan and

as Albrechtsberger, and both gave him ,

lessons. He also took lessons on the
violin from Schuppanzigh. That Beethoven should still
be needing lessons at the age of twenty-two may to some
seem curious, considering that Mozart had composed
many symphonies, operas and other pieces at a corre-
sponding age. Beethoven's brain-power was comparatively
slow in unfolding, however, and although he was one of
the prodigious piano players of the day, the grandeur and
sublimity of his poetic mind had yet to break forth.

Beethoven remained two years only with Haydn, as in
1794 the "Father of Symphony" left Vienna for his visit
to England. There is reason to fear that Beethoven
did not regret the parting. The ambitious student,
with a world of musical ideals struggling within him,
1 Ferdinand Ries.

Beethoven

smarted under a sense of inattention from his master.
If Schenk's testimony is to be trusted this discontent was
well grounded. Gelinek had discovered Beethoven and
arranged that Schenk should meet him privately at his
house, so as to help Beethoven with his counterpoint.
The corrected exercises arising out of Schenk's assistance
Beethoven copied and submitted as his own work to
Haydn. The whole ruse soon exploded, however, to the
annoyance of all concerned. An excuse, if it is to be
allowed, may be found for Haydn's neglect when it is
remembered that he was himself a hard pushed man,
busy with his plans for visiting England, and that he
was receiving but eight groschen — about g^d. — for each
lesson.

It is extremely difficult to account for Haydn's be-
haviour, however, when he first heard Beethoven's Opus
I. — the three Trios for pianoforte, violin and violoncello
— "a veritable chef d'ceuvre of originality, beauty, sym-
metry and poetical imagery,"1 as the late Mr Ella described
it. These were played at Prince Lichnowsky's, in the
presence of Haydn and most of the amateurs, and artists
of Vienna. Haydn advised deferring the publication of
the C minor Trio as being "music of the future," not
suited for the taste of the musical public of that time.
This advice gave offence, and was attributed by Beethoven
to envy and jealousy on the part of Haydn.

The Albrechtsberger association was scarcely more

satisfactory. Beethoven could not brook discipline, and

this the famous contrapuntist demanded. Consequently

when they parted in 1795 tne master reproached the

pupil — "He will never do anything according to rule,"

1 "Musical Sketches," vol. i. page 93.

Staunch Patrons

Albrechtsberger said of him, — "he has learnt nothing."
Here Beethoven's tutelary experiences ended, for he had
little more to do with masters. Both Salieri and Aloys
Forster gave him the benefit of their knowledge, but this
was only casual help, and there was no more regular study
under the guidance of others.

Beethoven now faced the world as a virtuoso — a role
he could fill consummately. As a composer and pianist
he had already made a deep impression, and there were
few among the music -loving Viennese aristo- .

cracy who did not feel at heart that great T,. ,

c ... Virtuoso

things were to come from this young man.

Nor did Beethoven lack staunch friends at this time. On
the contrary several of the best families still rallied round
him in a manner that did infinite credit to their devotion
to art, especially when we remember that some of the un-
fortunate features of Beethoven's temperament were thus
early presenting themselves. Still, neither difference in
social rank and station, an uninviting personal appearance,
nor a furious temper prevented the wealthy dilettanti from
pressing him into their houses, and showering upon him
whatever share of their favours he would deign to receive.
The Archduke Rudolph, the Prince and Princess Karl
Lichnowsky, Prince Lobkowitz, Prince Kinsky, Count
Waldstein, the Breunings and more — all maintained open
doors for, and bestowed bounteous patronage upon Beet-
hoven, he whom we to-day willingly acclaim as the greatest
of all the sons of German musical art.

In return Beethoven played for these great folk, dedi-
cated music to them, and went in and out of their
establishments as freely as if the houses were his own.
This freedom was always stipulated for by Beethoven, and

Beethoven

he availed himself of it largely. He would, without ex-
planation, keep away for weeks from a patron's place, and
then return to it as if no lapse whatever had occurred in
the occupation. " The Princess Christiana Lichnowsky,"
he used to observe, "would have put a glass case over
me." If he remained absent an unusually long while, and
the domestics made enquiries as to his apartments, his
kindly admirers would say, " Leave them alone, Beethoven
is sure to return," which, indeed, was invariably the case.

This same year (1795) Beethoven played for the first
time in public at Vienna. Hitherto he had performed
at palaces and mansions, but his fame was now so noised
abroad that the public clamoured to hear one of whom
private report spoke so much. Very appropriately this
deb&t was at a charitable concert, given by the Artists'
Society in the Burg Theatre on March 29th, 1795, in aid
of the widows and orphans of musicians. Needless as it
almost is to state it, the young master made a tremendous
impression — this with his Concerto in C major, which
piece he played — at once installing himself an exceptional
personality in the eyes of the Viennese world. From that
day to the hour of his death the Austrian capital became
Beethoven's home.

What with public appearances, teaching, composition,
and the offerings of wealthy admirers, Beethoven was now
far from badly off, especially with an annuity of £60
which the Lichnowskys generously provided. It was no
longer necessary for him, therefore, to lodge in a garret as
he had done at Bonn ; but he could, and did, rent ground
floor apartments which he used, whenever he was so willed
as to occupy his own place. This flourishing condition
of things explains his presence at more than one charitable

First Benefit Concert

performance then about — notably a concert for the benefit
of Mozart's widow and children.

The next few years were marked by no very striking
incident. Composition mainly occupied Beethoven's
attention, and he found time to make one or two pro-
fessional journeys ; also to get some respite of holiday and
repose — so necessary for a highly-wrought temperament
that was constantly being subjected to the severest mental
strains. Work after work followed with amazing rapidity
during the 1796-1801 period; while his wanderings in-
cluded a visit to Prague, Nuremberg, and Berlin (1796);
another tour to Prague (1798); and a change of lodgings
to Hetzendorf (1801). The rest of his time was passed
mainly in his beloved Vienna.

In 1800 (April 2nd) Beethoven gave his first benefit
concert. It was held at the Burg Theatre at 7 o'clock in
the evening, and although well supported by many friends
and admirers, they were poorly rewarded by ^,.

a bad performance, brought about by some „ ~

wretched rivalries among the artistes engaged. ~ ,

The programme was made up of the follow-
ing works : — Symphony (Mozart) ; Air from the Creation
(Haydn) ; Grand Pianoforte Concerto, played by the
composer (Beethoven); Septet (Beethoven); Duet from
the Creation (Haydn) ; Improvisation — Emperor's Hymn
(Beethoven) ; Symphony No. i (Beethoven). Other con-
certs— notably one given by Punto the hornplayer — were
graced by the presence of the young master; but both
1800 and the following year were chiefly remarkable for
Beethoven's vast creative activity.

An incident happened in 1801 which is worth noting.
Czerny, quite a boy, became Beethoven's pupil. Thus he

Beethoven

stands a direct connection between the great Bonn master
,, and a few musical professors and people in

* p * y this country who are still living. The rising
™ generation of pianoforte players may be a re-
move from the great link connecting Beethoven with
them, but they even can trace a union if slight, with
Beethoven through Czerny. There is probably not a
pianoforte player in the country who has not been in-
fluenced by Czerny's compositions for that instrument —
notably his " Complete Pianoforte School " ; and, as Czerny
gathered much contained therein from his pupilage with
Beethoven the merest user of " Czerny " can in a measure
claim to be in direct touch and influence with the master-
mind of Bonn.

Beethoven became quite interested in Czerny and re-
garded him almost as a son. He visited Czerny's parents,
and was so pleased with all their charming domestic life
and surroundings that he contemplated taking lodgings
under the Czerny roof. Matters eventuated otherwise,
however ; and one more chapter was spared probably in
the long narrative of Beethoven's experiences and methods
in lodgings. Happily Czerny, who had a lovable dis-
position, thoroughly reciprocated the good feelings of his
illustrious mentor, and never tired of expressing how much
he owed to Beethoven's teaching and influence.

Misfortune about this juncture began to play a part in

Beethoven's life drama. In 1801 he lost his patron — the

Elector of Cologne ; and some writers say that with his

decease a bounty which the prince bestowed also ceased,

and that Beethoven now for the first time began to work

with a view to earn his daily sustenance.1 We have seen

1 " History of Music " (Naumann) vol. ii. p. 985.

•-.

^jKg -. "'/^

Deaf

however that Beethoven was battling with the world suc-
cessfully some time before this.

Artistically, at little more than thirty years of age,
Beethoven stood the idol of the Viennese musical centre.
The highest and noblest sought him, a contrast, indeed,
with the circumstances of his first visit to the /•////•

Austrian capital in 1787. Yet patronage „. ^

and potentates were not now uppermost in
Beethoven's mind. His imagination wrought another
picture — not of progress and princes — but of a state and
condition of himself too awful to contemplate. No, he
was not deceived, symptoms which had been showing
themselves were growing more aggravated and unmistak-
able. Beethoven could but admit that he was growing
deaf ! Horrid thought ! yet one which the master could
not dispute. Alas ! fears ere long were placed beyond all
doubt. Doctor after doctor in turn was consulted, and
numerous remedies were resorted to, but neither one nor
the other brought cure or relief.

The malady increased with such strides that in a year
or two Beethoven presented the piteous spectacle of a
giant musician, not yet in middle age, nearly stone deaf.

Now could the great soul indeed cry out, D ,,

, . j., . . u- u Jjeetnoven

and cry out it did, in lamentations which _ ,

must move all who read them. Realising
that resignation was all that lay before him, he exclaimed :
" Resignation ! what a miserable refuge, and yet the only
one left for me." Fortunately he had a great sense of
existence as a trust. " If I had not read," he wrote to a
friend, " that man must not of his own free will end his
life, I should long ago have done so by my own hands.
. . I may say that I pass my life wretchedly. For

»3

Beethoven

nearly two years I have often already cursed my existence."
Those who have read Beethoven's " Will," as it is called,
will recall the master's pitiful reference to his calamity in
that document. "Thus," he says, "with a passionate,
lively temperament, keenly susceptible to the charm of
Society, I was forced early to separate myself from men,'
and lead a solitary life. If at times I sought to break
from my solitude, how harshly was I repulsed by the
renewed consciousness of my affliction ; and yet it was
impossible for me to say to people, ' Speak louder — Shout
— I am deaf ! ' Nor could I proclaim an imperfection in
that organ which in me should have been more perfect
than in others. . . . What humiliation, when someone
near me hears the note of a far-off flute, and I do not ;
or the distant shepherd's lay, and I do not." Ries was
once out with him on one of his favourite country walks.
The pupil drew his attention to a sounding shepherd's
pipe ; but, alas ! though both stayed to listen, Beethoven
heard it not, and with a shake of his head expressed his
disadvantage with a melancholy sadness of mien.

Who that has ever listened spell-bound, nay transported
into almost a seventh heaven by the all but divine swells of
harmony which have left the soul of this truly great tone
poet, will not sympathise with him in such pathetic utter-
ances over his dire misfortune as, "I will grapple with
fate ; it shall never drag me down ; I will seek to defy my
fate, but at times I shall be the most miserable of God's
creatures," and so on. One has only to read his " Letters "
to realise Beethoven's sense of his infirmity, especially
when every expedient had been tried in vain. Writing
from a village near Vienna, he says : " The fond hope I
brought with me here of being to a certain extent cured,

Forsakes Public Appearances

now utterly forsakes me. As autumn leaves fall and
wither, so are my hopes blighted. Almost as I came I
depart. Even the lofty courage that so animated me
in the beautiful days of summer is gone for ever. O
Providence, grant me one day of pure felicity. How
long have I been estranged from the gladness of true
joy? When, O my God, when shall I again feel it in
the temple of nature and of man ? Never ! Ah ! that
is too hard."

His great good friend Pastor Amanda gave him what
consolation he could, but the load could not be lightened.
Beethoven grew ashamed of his affliction, and implored
those who knew of it not to talk about it. " I beg you
will keep the fact of my deafness a profound secret, and
not confide it to any human being," he writes to Pastor
Amanda.1

As might be expected this dire calamity involved him
in sacrifices and losses on all sides. Gradually he gave
up all his piano-playing and conducting, for he could

not hear sufficiently well what he himself or

,, i j T^ i.-i ^u Forsakes

others played. It was not until the year „. .

1813, however, that Beethoven quite tore in*

himself away from public pianoforte-playing ~ ,

. . 3 . c ..u • Conducting

— so persistent was the clamour of the music-
lovers of Vienna, particularly, to see him and hear him.
That the wrench was painful to him may be gathered from
the fact that he planned some orchestral concerts shortly
afterwards, feeling, doubtless, that the tones of an orchestra
would penetrate his hearing better than the pianoforte's
sounds. But much that should have been music to him
appeared only to be " noise," for which reason, whenever
better, 1800.

Beethoven

he was within other people's hearing of wind instruments,
he took the precaution to plug his ears with cotton-wool.
The dreadful burden of deafness Beethoven carried thence-
forth with him to the grave — providing in this way an
analogy to the case of the sightless tone-poet Handel, who
had been laid to rest eleven years before Beethoven first
saw the light.

Rarely was Beethoven induced to wield the b&ton during
the later years of his life. Towards its close (in 1824)
he attempted to conduct the first performance of his
" Choral " Symphony, though this led to a pathetic scene.
Although he stood before his band of devoted followers,
leading as though he heard all, he was in reality so deaf
that he did not hear the storm of applause which followed
the performance, and it was not until the vocalist, Mdlle.
Unger, took him by the hand and turned him face to
face with the excited audience that he realised what
was going on.

Beethoven was one of the strong men of the earth.
He staggered under his heavy load, but it did not break
him down. Great man that he was he girt himself anew
and took fresh courage. Denied two aspects of his art-
calling, he applied himself to the one sphere alone left
him with a force and energy that was little short of
miraculous. Stirred, as if by a spell of sheer desperation,
he launched forth score after score of ever-increasing
magnitude and grandeur. The creative faculty of the
master-musician broke all restraints, and for the first time
in Beethoven's great career we witness the matured
strength of the giant composer asserting itself in a char-
acter and degree which, but for the awful calamity that
had settled upon him, might never have been demon-

Slender Income

strated. "I live only in my music," he wrote at this
time. " I often work at three and four things at once." l
Such words fitly describe the condition of affairs ; which
— as a renowned Beethoven critic rightly says of the
" Letters " containing them — " give an extraordinary
picture of the mingled independence and sensibility which
characterised this remarkable man, and of the entire
mastery which music had in him over friendship, love,
pain, deafness, and any other external circumstance." 2

With all this masterly activity, however, it is to be
feared that the gain accruing to Beethoven was absurdly
inadequate to his needs ; to the demands made upon his
goodness of heart by deserving and undeserving friends
and relations ; or to the musical worth of the scores.
Otherwise it would not have been necessary for him to
memorialise, as he did unsuccessfully (in December 1807),
the directors of the Court Theatre for a permanent engage-
ment, at a salary of 2400 florins per annum and a benefit
performance; on the condition that he composed one grand
opera and one operetta yearly. No doubt he was a bad
manager of both his private and business affairs, and
lacked the faculty of taking care of money, whenever
and however he made it. His patrons undoubtedly
remained staunch friends, and assisted him not illiberally ;
but Beethoven had a sturdy independent spirit, and always
preferred to depend upon the salary of a public appoint-
ment. Most of such posts in the vicinity of Vienna were
filled by accomplished contemporaries who were his seniors
in years though certainly not his superiors as musicians.

1 Letters to Wegeler, 1801.

2 Sir George Grove, "Dictionary of Music and Musicians," vol. i.
page 181.

B I7

Beethoven

Happily, in 1808 an opening presented itself. The
King of Westphalia, Jerome Buonaparte — brother of
Napoleon — offered him the post of Court Chapel-master
at Cassel.1 The terms were a salary of ^£300 per annum,
and ^75 for travelling expenses; the duties light. It
was a tempting offer for Beethoven, despite the fact that
he, a German, would have to accept service under a
French prince. He consulted his friends, and the upshot
was that these declined to entertain the proposal for a
moment, and forthwith set about devising an arrange-
ment which would at least keep Beethoven in Vienna.
The Archduke Rudolph and the Princes Lobkowitz and
Kinsky drew up and signed an undertaking, dated March
ist, 1809, by which they guaranteed Beethoven 4000
florins per annum, payable half-yearly, provided he re-
mained in Vienna. This was a laudable proceeding, and
one which Beethoven gladly availed himself of. Un-
fortunately it did not prove a long-lived contract. Though
Beethoven kept his part of the agreement, the guarantors
through unavoidable circumstances failed to carry out
theirs, and in a short time the value of the document
and emolument depreciated considerably.

Unquestionably the great musician's fame was expanding
the while — each new composition that he put forth adding
alike to his reputation and adherents. It is not surprising,
then, that with no fixed appointments, and with many claims
upon him, he should take the course of self-dependence —

1 J. F. Reichardt, who was not without sympathy with French
Revolution doctrines, finally accepted the post. He did not hold it
long, however, as we find him offering it to Ries — a proceeding which
Beethoven, by some process of reasoning, contrived to twist into a
slight towards himself.

Passion for the Country

a strongly marked feature of his character which throughout
his career stood him in right good stead. He, this year
(1809), entered into business relations with that eminent
house Messrs Breitkopf & Hartel, and forthwith there began
a period of productivity which must have astonished even
such matter-of-course people as publishers. Composition
followed composition with amazing rapidity, and if the
master-mind had been composing for dear life's sake
he could hardly have done more. A reference to the
published works of Beethoven this year will give some
idea of his extraordinary powers and industry. All these
scores were issued from the famous press just mentioned
— and more regularly followed, up to the year 1816, when
began that glorious sequence of maturest labours which
gave the world, among other transcendent tone canvases
the " Choral " Symphony, the Missa Solennis and many
another work of immortal merit and worth. Nothing in
the shape of attraction seemed strong enough to direct
him from the apparently necessary course of getting his
ever-crowding ideas upon paper. Even the cannonading
of Napoleon's troops when forcing Vienna, Wagram, and
resulting in the Schonbrunn Peace does not appear to
have disturbed the quality of his muse this year ; albeit
his lodgings being on the city wall, and much exposed, he
fled to the cellars to avoid the concussions.

Outside his beloved and incessant occupation of com-
posing Beethoven gave such time as he could to going
into society, and to periods of change long and short in
the country around Vienna. The great man was pas-
sionately fond of the country, for there he could address
himself to Nature in all her beauty, and be alone — which
latter state was one which he much appreciated. "No

Beethoven

one can conceive," he wrote to the Baroness Droszdick,
" the intense happiness I feel in getting into the country,
among the woods, my dear trees, shrubs, hills and dales.
I am convinced that no one loves country life as I do.
It is as if every tree and every bush could understand my
mute enquiries and respond to them." It was this rage
for the fresh air and fields which made him such a bad
stay-at-home bird, whether he was sheltered amid the
palatial surroundings of some princely patron, or whether
sojourning in the less luxurious and comfortless atmo-
sphere of some one of his frequently-changed lodgings. He
disliked any control, and truly meant it when, at intervals,
growing impatient with the constant requests for his com-
pany, he complained outright that he was forced too much
into society. His favourite places for ruralising were
Modling, Dobling, Hetzendorf, and Baden ; while there
is still cherished in the royal garden of Schonbrunn a
favourite spot, between two ash trees, where the master
is reputed to have composed some of the music of
Fidelio.

The love affairs of great men — and the greatest among
these have proved ordinary mortals in this respect, naturally
command interest. Our subject — Beethoven — was never
married, but he did arrive at that interesting
In Love point in existence which touches that trembl-
ing stage of experience conveyed in two words
being 'in love.' No man, certainly, — even if we think
only of his domestic capacities — was ever better equipped
for this happy condition than he who had just given to
the world the " Eroica " symphony, the " Appassionata "
Sonata, the Fidelio opera and other such immortal scores.
It was not the master's lot, however, to enjoy the full

Act of Charity

realization of what 'love' is. This was denied him, a
circumstance which, to one who has brought so much
peace and harmony into this world, can only be deplored.
Whether, from a mere material point of view he would
have proved a virtuous, generous swain and fond and thrifty
husband is not so clear. The indications provided say —
no. That he appreciated female society, however, is evident
enough, and that the question of marriage was occupying
his mind at this time (1810) and others is patent. It was
in May of this year that he first met Bettina Brentano — his
junior by some fifteen years, who like others, had manifestly
made a soft place in his heart. The matter was strictly pre-
served between them, and we hear less of the ripening of the
project than of its sudden collapse. As has been well said
— " he was destined to live on in the immense solitude of
his genius, and made miserable by contact with a world
which he could not understand, even as it could not
understand him."

Pecuniary embarrassment — an attendant that dogged
Beethoven throughout his career — plagued him sorely
about this time. There had been deaths, and a de-
preciation in the value of paper money — a „.
matter that affected Beethoven's income to massing
such an extent that it had sunk as low as
j£So per annum. This had forced him to negotiate a
loan of 2300 florins with his friends the Brentanos.
Albeit the natural goodness of the great man's heart
directed him to charity's course even under such stress.
A concert in aid of the poor was being given in Gratz
(1812). Beethoven could not send money, but he for-
warded the Mount of Olives, Choral Fantasia and other
MS. scores, for the institution, nor would he hear of any

Beethoven

payment in return. Later on we find him at Carlsbad
taking the whole charge of a benefit concert for the
sufferers in a fire which took place at Baden ; and when
there came the news of the defeat at Vittoria he was to
the front again not only conducting the concert, but com-
posing a piece — that extraordinary orchestral composition
entitled " Wellington's Victory, or the Battle of Vittoria "
— all for the benefit of the Austrian and Bavarian soldiers,
wounded at Hanau.1 Never was there a more generous
heart.

Now was a busy season for Beethoven. He was at
the zenith of his powers ; his industry was astonishing.
In 1814 Vienna was the scene of the Peace Congress,2
and Beethoven seized the occasion to give two concerts
for his own benefit. These took place in the Redouten
Saal, one of the most magnificent halls and concert rooms
in Europe. There was an audience of 600 persons,
including sovereigns, princes and notabilities of State.

1 At this concert (Dec. 8th, 1813), the notable musicians Spohr,
Salieri, Mayseder, Moscheles, Romberg and Hummel were in the or-
chestra; while Maelzel who invented the metronome organized the
performance. Schuppanzigh led the first violins, Spohr the second
violins ; Salieri marked the time for the cannonades and drums. It was
a rare assemblage of distinguished artistes — Beethoven wrote afterwards
— "Everyone of whom was anxious for the benefit of the fatherland ;
and without any thought of precedence or merit, they all took their
places in the orchestra. The direction of the whole was entrusted to
me, but only because the music was of my composition. If anyone
else had written it, I would as cheerfully have taken my place at the
big drum ; for we had no other motive but the serving of our father-
land, and those who had sacrificed so much for us. "

2 The famous English painter, Sir Thomas Lawrence, was at this
time in Vienna. It is a pity he did not paint Beethoven's portrait.

22 '

Carl — the Nephew

It was a period of bustle and sunshine for Beethoven,
since everyone from the Empress of Austria downwards
desired to honour him. He was the recipient of many
valuable presents, and the proceeds of the concerts
considerably benefited his exchequer. Still there were
drawbacks. His health was far from good, for which
reason his doctor, Malfatti, had ordered him the baths
and waters. His deafness, too, was still a source of great
worry to him — especially as he hated the thought of
wholly relinquishing the work of conducting. Maelzel,
the mechanician, was engaged, consequently, to make a
pair of ear-trumpets for the master, but when, finally, these
came to hand they proved of little service to the distressed
man. With all this he was engaged in legal complica-
tions sufficient to turn the head of any ordinary being.
His patron Prince Kinsky had died suddenly, and his
allowance to the composer was jeopardized to the extent
that Beethoven had to sue the executors — which, for-
tunately, he did. Then he had an action running with
Maelzel, who, it was alleged, had surreptitiously obtained
a copy of the " Battle " Symphony, which he was pro-
jecting " running " in England.

Yet a greater distraction awaited Beethoven. His
brother Carl, who had long been suffering from consump-
tion, died (1815) after a more or less reckless life, during
which he was a constant drain upon the earnings of the
master ; indeed he had cost him at various times as much
as 10,000 florins. He left Beethoven the heritage of his
unhappy son Carl — quite a boy. " So I expect with full
confidence," ran the words in his brother's ' Will,' "that the
love he has shown me will pass over to my son Carl, that
he will do everything for his intellectual development and

Beethoven

further his success in life." And, indeed, this expectation
was more than fulfilled. Beethoven adopted the boy, and
from that day forward the prosperity of his nephew was
Beethoven's chief concern. True till death the composer
finally left him his sole heir, and a post-mortem search
among his belongings soon revealed seven 1000 florins
bank shares stored in a drawer. With the subsequent
sale of furniture, MSS., and other effects this improvident
scapegrace found himself the possessor of something like
;£iooo in hard cash — thanks to the abiding love of his
A // M Ji ' S°°d uncle. That he could not have fallen
«fcVt into better hands is clear from the tenour

™ of a lovable letter which Beethoven had

previously written to this brother, a fragment of which is
as follows : — " God forbid that the natural tie between
brothers should again be unnaturally torn asunder, for
even without this my life may not be of long duration.
I repeat that I have nothing against your wife, although
her conduct towards me has on several occasions been
unbecoming. Apart from this, my illness, which has
lasted three months and a half, has made me extremely
sensitive and excitable. Away with everything which does
not help to mend the matter, that I, my good Carl, may
get into a more tranquil condition, so essential for me.
If you look at my lodging you will see the consequences
of my being obliged to confide in strangers, especially
when I am ill. Do not refer to other matters " (probably
relating to money lent by the musician, of which we
have already spoken). " If you can come to-day you can
take Carl with you." This charge involved the master in
further legal embroilment — this time with his sister-in-law
— whom he deemed an unfit person to have charge of his

A Thankless Heritage

fatherless nephew. Not without reason, it is to be hoped,
he questioned her morality, surnaming her " Queen of the
Night," and, determined to carry out the strongly expressed
wish of his dying brother, he placed his charge in one of the
Vienna schools where his mother could see him monthly.
This course led to an action at law between Beethoven and
the widow, and it is to be feared caused the master many
a pang and many a thaler. The litigation went on for
four years, for he dearly loved the boy. Beethoven was
the more exposed to her continual slanders, intrigues, and
law-suits because he himself, by acting vigorously accord-
ing to his moral conviction, disregarded the inviolable law
of nature. The mother sought in every possible way to
regain her influence over the boy, who had been removed
from her ; the boy obeyed only the promptings of his own
heart when he, contrary to the admonition of his uncle,
" ran to his mother," and the result naturally was that he
was false and deceitful towards both parties, and from
being at first only a spoilt child became thoroughly
corrupt. In 1820 an Appeal was decided in the com-
poser's favour with the custody of the lad.

Eventually Beethoven had the satisfaction of getting
him into the University. Alas ! — it was a vain step.
The fellow went from bad to worse — was expelled,
and after attempting self-destruction was placed for a
season in an asylum. Beethoven's state of mind at this
attempt at suicide was shocking to see. When at length
Carl was discovered severely wounded, and the first anxiety
had been overcome, the accumulation of grief, guilt, and
suffering in connection with the circumstance poured down
like a storm upon his feelings. Schindler, who was an
eye-witness, reports : " The resolution and firmness which

Beethoven

had always been observable in his whole demeanour and
character vanished at once, and he stood before us an old
man of about seventy years of age, involuntarily tractable,
obedient to every breath of wind." Instead of repaying
his uncle with gratitude the unhappy nephew rewarded
his tender generous care with base thanklessness. No
wonder that at such a time Beethoven cried " Gott, Gott,
mein Hort, mein Fels, o mein Alles du siehst mein Inneres
und weisst wie wehe mir es thut Jemanden leiden machen
Miissen bei meinem guten Werke fur meinen theuren
Karl " (God, God, my strength, my rock ! Thou canst
look in my innermost thoughts, and judge how it grieves
me to cause suffering even by good actions to my heart's
one — Carl). Nor is it surprising that with such turmoil
and worry Beethoven gave us this while no music.

Not yet was the great man's cup of trouble full. At a
time when his resources were seriously crippled by expenses
of law suits, he lost by death a liberal patron — Prince
Lobkowitz (1816) and with him an allowance which that
nobleman had been making. This event led to another
appeal at law, by which one more worry was added to the
many which eventually drove the master into a premature
grave. One incident may have somewhat lightened the
load of existence about the painful period we have just
dwelt upon. The Corporation of Vienna had shown their
appreciation of Beethoven and his music by presenting
him with the Freedom of the city.

It behoved Beethoven now to concern himself about
his resources, which — despite the substantial sums that
from time to time accrued to him — were unequal to the
many drains, mainly merciless appeals to which they were
subjected, and pressing requests, which were rarely, if

" Philharmonic " Negotiations

ever, refused by him. Of course his fame had reached
this country, although a century ago news hardly travelled
as fast and faithfully as they do now, and musical desire
and enterprise here in England were less urgent than is
the case to-day. Among those interested in the great
man of Vienna were the Broadwoods, and it was the then
head of this eminent firm of pianoforte makers, Mr Thomas
Broadwood, who caused a very acceptable grand piano to
be sent as a gift to Beethoven (1817). Beethoven duly
acknowledged the present in a letter, the tenour of which,
translated from his own doubtful French, runs as follows :
" Never have I experienced a greater pleasure than your
advice of the forwarding of the piano which you have
honoured me in presenting. I shall regard it as an altar
upon which I will sacrifice to the divine Apollo the best
offerings of my soul. As soon as I receive your splendid
instrument, I will immediately send you the result of the
first impressions which I shall gather from it, and duly
trust that they may be found worthy of your instrument." l
The Philharmonic Society also made strenuous exertions
to induce Beethoven to visit England professionally. 300
guineas were assured to him for the engagement, but the
master — in keeping with a peculiar habit he ,„ .„

had of demanding more whenever he received

a- • rr,, montc

offers — wanted 400 guineas. The result was <, . ,

that the negotiations proved fruitless. The ,^ . .
Society, nevertheless, bought several of his *
compositions. If they could not secure the master him-
self, they were determined to acquire some of his scores,
a desirable aim which was attained through the instru-
mentality of his admirers Messrs Neate, Ries, and Birchall
1 Vienna, February 3rd, 1818.
27

Beethoven

the publisher. These negotiations extended from 1815
to 1818.

Just now — 1818 — however, Beethoven was much occu-
pied, and according to his own showing the state of his
health did not favour such a journey. In fact, his intention
was fixed upon relieving himself of at least one stupendous
musical idea which had taken possession of his ever
imaginative brain. His friend, the Archduke Rudolph,
was to be installed as Archbishop of Olmiitz, and in the
winter of 1818-1819 Beethoven had become engrossed in
a composition suitable for the occasion, the date of which
was March aoth, 1820. The work designed for this
ceremony was a grand Mass, the one in D major. Day
and night did the indefatigable worker occupy himself
with the score, until his devotion to his task was looked
upon as something more than extraordinary. Never
before had the composer seemed so wholly abstracted
with a task, a struggle with the elements of composition
which really alarmed those who were cognizant of what
was happening. Schindler was an eye-witness of the
surroundings : — " The house was deserted by servants,
every comfort was absent. Shut in a room alone, the
great man resorted to singing, shouting, stamping, as if
in the throes of mental torture. In appearance he was
wild, dishevelled, exhausted with long periods of work
and abstinence from food of any kind."

Nor could the score be finished for the Installation, and
no one could guess if it would ever see the light. Con-
ception after conception fastened upon him with such
rapidity that his brain was continually on the rack with the
profoundest problems and musical possibilities. Relief only
came to him in working upon three or four vast panoramas

Rossini Fever

at one and the same time ; and as was his wont, he at
this period of pressure added to his mental and physical
strain by engaging upon two vast harmonial projects, the
composition of either one of which would have made an
ordinary man immortal.1 It was not until February 1822
that the Mass was completed, and on the igth of the
following month, two years after the date fixed for the
ceremony, a fair copy of the score was sent to the Arch-
duke. By Beethoven it was regarded as his greatest and
most successful work ; and truly it is one of the grandest
and most profound art compositions ever created. Not-
withstanding, Beethoven had great difficulty in getting
subscriptions for the work. He addressed circular letters
to the sovereigns of Prussia, France, Sweden, Saxony and
Russia, asking for 50 ducats towards its publication, but
at the expiration of nine months, no more than seven
copies had been guaranteed ! Eventually, after much
wrangling, due as much to Beethoven's difficult temper
as to anything else, the Mass, or the major part of it, was
produced with the "Ninth" Symphony at the Karnthnerthor
Theatre. This was on May yth, 1824, for which event
we have to thank his friends Lichnowsky, Schindler, and
Schuppanzigh. The scores aroused unbounded enthusiasm,
albeit the concert was a failure ; and when it was repeated
on the 23rd, with little better result, Beethoven so roundly
abused his friends, whom he had invited to dine with him,
that they rose up, hurried out of the room, and left Beet-
hoven and his nephew to eat the dinner.

About this time Rossini appeared on the horizon of
musical Europe. Speedily his fame spread to every

1 These scores were the magnificent Sonata in E major Op. 109,
and the "Ninth" Symphony.

Beethoven

quarter of the Continent, and there was scarcely a capital
„ . . which was not swept by this brilliant musical
P meteor. Beethoven stood unmoved — uncon-

cerned. And, with what prophetic instinct we
may credit Beethoven if we regard the musical reputations
and values of the two composers to-day! Undismayed and
unalterable the Vienna master pursued his deep ponderings
in the very depths of theoretical research and invention —
pouring forth his fancies and deductions in page after page
of the "Choral" Symphony and other colossal works mark-
ing the closing years of the great musician's career. To
their credit be it said Beethoven's intimate friends did not
desert him during the Rossini fever, although it is to be
feared that that fickle, restless body the " public " cared
little for real music in its thirst for ravishing Italian tune.
Whether it was, or was not, consolatory to him to receive
a public proof of esteem at such a time is not altogether
clear. Nevertheless, when Rossini's glory was at its high-
est a public Address and demonstration were prepared in
Beethoven's honour — a step which Schindler says com-
forted him greatly in his hour of apparent neglect. This
might easily have been otherwise however, as the great
composer with his self-contained, moody temperament,
developing more and more as he grew older, was strongly
averse to all public manifestations. In fact he persist-
ently shunned every attempt made to draw him into
public view. The purport of this Address, which was
signed by Prince Lichnowsky and the leading musical
personages in Vienna, was that he should produce the
Mass, the Ninth Symphony and a new opera, thus to
convince the world that Germany could yield greater
music than could Italy.

Straightened Resources

None the less Beethoven was kept busy — indeed, he
had never been busier. "The publishers' demands for
my works are so great," he wrote in 1822, "that I
humbly thank the Almighty." And again, " if by God's
will my health be restored I shall be able to comply with
all commissions which I am now receiving from all parts
of Europe, and I may yet acquire prosperity."

Now, towards what proved, only too truly, to be the
closing years of his life, Beethoven began to have mis-
givings. Fearful and gloomy thoughts took possession
of him and these, with his naturally morose ^,,
and serious disposition he aggravated, until ^ , ,.
he weaved them into really frightful pictures
on which his mind dwelt persistently. Nor did he keep
all this to himself, but poured out the melancholy story
of his unhappy lot to business houses and intimates alike.
The chief of his painful imaginations was a presentiment
that he was about to die ; another was that he would be
the victim of actual want, and perhaps starve — morbid
ideas indeed.

All too tender-hearted and considerate of others, —
especially of his nephew Carl, for whom he entertained
an affection which was hopelessly misplaced, — Beet-
hoven, in order to make more money, pushed on the
work of composition under conditions which at times
were appalling. Had this been for his own benefit it
would be understandable enough — but it was in order
that he might provide himself with funds wherewith to
meet the many demands that were constantly being made
upon his generosity. Else, how could things have reached
such a pass that in the year 1820, such was the com-
poser's impecuniosity, he was reduced to making his

Beethoven

dinner, for four days, of a glass of beer and some rolls.
Unscrupulous persons besieged him for loans or gifts
of money upon all sorts of pretences, and there were
even those who in order to turn them to their own
account peculated his scores on the excuse of disposing
of them to his advantage to a publisher.

Nevertheless Beethoven was far from being really poor
in the closing years of his life. His belief that he was,
and his consequent strenuous efforts towards the last to
raise money were the outcome simply of a disordered
brain, the misgivings of a morbid nature aggravated
by worry, neglect and insidious disease. There were
the bank shares, for instance, which he had willed
to his unprofitable nephew Carl, and which the uncle's
strict conscientiousness would not permit him to touch.
The chief publishers of Europe were wanting composi-
tions from Beethoven, and there were friends on all
sides who would have helped him. On December 2oth,
1823, the Philharmonic Society in London again came
forward and offered him 300 guineas and a benefit
concert — guaranteed to be of not less value than ^500
if he would visit London with a symphony and concerto,
but even this negotiation came to nothing. There was
really no ground, therefore, for any great anxiety re-
specting his monetary affairs. If he was in debt at
about this time, as Thayer calculates he was in the
spring of 1823 — to the tune of 7000 florins — he could
easily have remedied matters.

Beethoven's apprehensions concerning his condition
of health, however, were by no means without founda-
tion : on the contrary, the presentiment of a speedily
approaching end, which took possession of him so com-

Galitzin's Quartets

pletely, proved to be the fore-shadow of an actual fact.
The indifferent state of his health which had always
more or less troubled him, and which had long kept
him a 'subject' of the doctors, grew worse, until in
the winter of 1824 there were decided indications of
serious stomach troubles. The situation, too, was ren-
dered worse from the fact that he had fallen out with
his physicians — as indeed he fell out with everybody,
and doctors Braunhofer and Staudenheim flatly refused
to attend him.

Still he would not give up work — rather he applied
himself to composition with increased vigour — for no
other reason it would seem than that he might leave
his rascal nephew well provided for. In 1824 he placed
himself in communication with the publisher Schott of

Mayence, who bought the scores of the Mass TZjr , ,
/ , XT. ' , , 0 r a . iU Work and

and 'Ninth Symphony for 1000 florins the <-, „• .

one, and 600 florins the other. With the •" 7

assistance of one Carl Holz, a government official and
quite a "man about town," who had ingratiated him-
self into the composer's favour, Beethoven was now at
the eleventh hour more active in stimulating commercial
negotiations for his work than he had ever been in the
whole course of his life.

About this time Prince Galitzin wrote from St Peters-
burg commissioning three string quartets which were to
be liberally paid for when composed and dedicated to
this Russian noble. These were the Quartets in E flat
op. 127, B flat op. 130, and the A minor op. 132,
which were not paid for, as they all found their way,
for a consideration, into the hands of the publishers —
Schott, Schlesinger and Artaria.

c 33

Beethoven

All this while the burden of a slowly-breaking constitu-
tion lay on the master's mind. In one of his letters to
Schott he writes : " I hope that Apollo and the Muses
will prevent for some time my delivery into the hands
of the Reaper. I am still much under engagements to
you ; and what my mind is at present filled with must be
poured out before I go to the Elysian fields." l This was
the year when, anxious about his "Choral" Symphony,
Beethoven is seen conducting its first performance — a
proceeding which would seem to indicate that even the
composer's closest friends were unacquainted with the
full extent of his deafness, or we may conclude they would
not have allowed him to figure in such an unfortunate
position. Always irritable and ashamed of his calamity,
he was no mild chef tTorchestre, although the bandsmen
were ever ready to make allowances for, and pocket insults
and reprimands — rebukes which arose invariably from
Beethoven's own defective hearing. Thus the master,
despite his many complainings, may have imagined that
he alone knew the terrible secret to the uttermost. All
was eventually discovered, however. He had wielded the
baton and led the band, but that this was more by eye
than ear became painfully palpable. He was as deaf to
the applause at the conclusion as he had been to the
strains of his own music. The loving soul already
mentioned turned him round — and lo ! — the sight he
met must have made his heart bleed. The sympathetic
concourse, we are told, at once grasped the situation, and
the demonstration that then followed has been described
by Schindler as " a volcanic outburst of joy and tears."

Incessant work and a resolute will were the mainstays
1 September I7th, 1824.

Brotherly Relationships

upon which the great existence now depended. "I feel
as if I had written little more than a few notes," he wrote
to Schott ; and later on, in a letter to Wegeler he says,
"I want to bring a few more worthy scores into the
world and then to die in peace." So he laboured on
unceasingly.

Nikolaus Johann, Beethoven's second brother, was a
chemist, who carried on business at Linz and Vienna,
and later on resided in retirement at Gneixendorf. This
dispensing chemist had become suddenly rich by the
execution of some peculiar orders he had received from
the French in the great wars of 1809. He and the
composer were on anything but brotherly terms, however,
— a condition for which the man of drugs must have
been mainly to blame, inasmuch as there exists abundant
evidence to prove that no man ever possessed a more
touching affection for his kin than did Beethoven. The
fact is, Beethoven did not approve of the wife which this
brother had married, so that when he received invitations
to visit the estate he invariably made excuse. " Could I
so far lower myself to join such bad company ? " he once
wrote to his brother. For in spite of all that had been
done to keep him from that disgraceful connection,
brother Johann, whom he had warned on his first coming
to Vienna against " the whole clique of bad women,"
had obeyed his old inclinations, and the results were, if
possible, more disastrous than in the case of the wife
of his other brother — Carl.

There ever has been, and ever will be, a class of men
who, with an ingrained love of money, cultivate the art
of accumulating it so strenuously that in time they be-
come lost to all sense of everything else, and the apothe-

Beethoven

cary belonged to this by no means extinct tribe. The
resultant was the usual one — the brothers were estranged
and agreed to differ. Occasionally a sally of insinuation
escaped both. Thus, one day, Johann from the luxury
of his retirement called upon the working musician, and,
finding him out, left his card. It ran : —

JOHANN VAN BEETHOVEN,
Land Proprietor.

The composer rose to the occasion. He returned the
card forthwith, having endorsed it on the back : —

L. VAN BEETHOVEN,
Brain Proprietor.

It was to this brother that Beethoven had, perforce, to
pay a visit in 1826 — a journey which, unhappily, proved
to be the last he undertook ere essaying that bourne along
„. . , . which no traveller has yet turned a face.
„ , Matters had reached a climax with Carl, and

Beethoven, fearful of his own approaching
end, and unable to neglect his dying brother's charge,
required to acquaint the apothecary with his arrangements
in respect to his nephew. A young man, who having failed
in his University studies, came to grief in a profession and
subsequently in trade, proved unsuccessful in an attempt
at suicide, was expelled the army, and finally ordered
out of Vienna, was scarcely a fit and proper person to
become suddenly possessed of a small fortune — for
Beethoven, with extraordinary love and devotion, was
straining every nerve to leave this rake in a state of
independence. To further the end absorbing him he
would even have resorted to pen and score-paper as he lay

Sturdy Guest

on his bed of sickness, had not the doctors peremptorily
refused his appeals to be allowed to compose.

Johann permitted this interview in half-hearted fashion,
and in October 1826 Beethoven, with prodigal Carl, set
out for Krems, a fifty mile journey from Vienna. " The
party," as a great critic has it, must have been a curiously
ill-assorted one — the pompous, money-loving Gutsbesitzer
(land proprietor) ; his wife — a common frivolous woman
of questionable character; the ne'er-do-well nephew, in-
tensely selfish and ready to make game of his uncle or
make love to his aunt ; and in the midst of them all the
great composer — deaf, untidy, unpresentable, setting every
household rule and household propriety at defiance, by
turns entirely absorbed and pertinaciously boisterous, ex-
ploding in rough jokes and hoarse laughter, or bursting
into sudden fury at some absolute misconception, such
a group has few elements of permanence in it.1

That the niggardly Johann and his household, in-
cluding Michael Kren, who was told off to attend upon
Beethoven, must have been appreciably agitated by the
new-comer is certain. The musician — always wholly ab-
sorbed in his art, and more than ever so now since he
felt fired to work " while it was day," had far from left his
Beethoven inspirations at home. He would rise at half-
past five, and even at that early hour would repair to his
table and start composing, "beating time with hands
and feet, singing, humming and writing." A rr t d

hurried breakfast and off he was to the fields ~,

r n i_- • . .. A1 Guest

— the arena of all his inspirations. Alone

with Nature he sauntered all day about the fields calling

1 Sir George Grove, " Dictionary of Music and Musicians," vol. i.
p. 198.

Beethoven

out, waving his hands, going now very slowly, then very
fast, and then suddenly standing still, and writing in a
kind of pocket-book — this one of those eternal sketch-
books. The brother thought him mad ! Well — there are
many of Nature's flints to-day who would encourage a
similar verdict if the occasion could arise. That the
precise pharmaceutist looked forward to the day when his
abnormal guest would shake the dust from his feet and
depart must not be regarded too harshly, for he really
understood not the manner of man he was sheltering.
The immortal beacon was not yet illuminating the musical
universe with its glorious rays. Johann, not dreaming of
future ages, shut up his bowels of compassion. He denied
his ailing brother — his own flesh and blood — the toiling,
open-handed, open-hearted worker, suffering from a cruel
internal disorder, requiring warmth and attention — he
refused him the comfort which a drooping dog would need.
He denied him a fire in his room although it was mid-
winter; he required payment for his board and lodging
which the composer thought was to be gratuitous; and
with it all the food supplied was not suited to Beethoven's
seriously disturbed and not robust appetite. The dis-
cussion as to Carl led to a bitter quarrel — so much so
that on December 2nd composer and nephew packed up
for a journey back to Vienna, Beethoven having failed
to interest Johann in Carl's future much less to provide
for him in his Will.

It was biting weather, and even the winter sun seemed
permanently hidden. A close vehicle was consequently
indispensable for a fifty miles' journey ; yet this was not
forthcoming; the brother would not lend his, so with
great misgivings Beethoven hazarded an open conveyance

Beethoven

— a milk-cart it is supposed — " the most wretched vehicle
of hell " as the composer described it — with the two-fold
mischief of exposing himself to the cold damp elements,
and his nephew to the officiousness of the Vienna police,
— the scapegrace, be it remembered having been expelled
the city after the attempt upon his life. Still home had
to be reached, and Beethoven though only clad in summer
clothing resolutely faced all.

It was a two days' journey, and it cost this wondrous
man his life — a consequence which would, indeed, have
been beyond the power of words or imagination to picture
had he not already poured out his very life's blood in
music. Indeed, and indeed, had he shed his entire
musical self for posterity of all future. Nothing more
was to come — what might have been in store God only
knows, but the sand-glass had run its course. Water was
all that soon afterwards, or ever, was drawn from that
rich fount — as the surgeon tapped him for his disease.
" Better from my belly than from my pen " was the burst
of the impatient sufferer.

Beethoven reached his home in the Schwarzspanierhaus
and straightway took to his bed. The raw December
weather had found out the weak spots in his enfeebled
Tfo C constitution : not only was the stomach ail-

p0r%~ ment aggravated, but inflammation of the
lungs had set in. Medical assistance was
of course necessary, yet difficulties presented themselves.
Beethoven had succeeded in so estranging his former
physicians that he could not appeal to them — conse-
quently a doctor Wawruch — a nominee of a billiard
marker known to indolent Carl — was summoned. Neither
the physician nor his physic commended themselves to

Coming End

the patient nor arrested the complaints. To add to the
seriousness of the situation dropsy set in, and on December
1 8th the suffering musician was first tapped. This opera-
tion was repeated on the 8th January, and again on the
28th, — with, unhappily, very little benefit in the patient's
condition. Then recourse had to be had to a cast-off
physician, Malfatti, who, with no great pleasure, eventually
consented to see the patient. Under Malfatti's treatment
— wherein iced punch took the place of abominable
herbal decoctions — a decided improvement was manifest,
so much so, that Beethoven by word and manner ex-
pressed a disgust for Wawruch's treatment.

The new year (1827) found the master still confined
to his bed. He had improved sufficiently to transact
business, write letters, study Schubert's songs for the first
time ; pore over a forty-volume set of Handel — Arnold's
edition — in score which Stumpff the well-known harp-
maker had very thoughtfully presented to him ; and finally
look into his own affairs — especially in Carl's interest.
He committed this hopeful, only now some nineteen
years of age, to the care of an old lawyer friend — Dr
Bach — the apothecary brother persistently declining the
charge. In his survey Beethoven learnt that he possessed
7000 florins in bank shares — bought in the prosperous
time of the Congress — and now set religiously apart for
Carl. For himself there was nothing, and his long illness
had involved him in debt. He wanted to compose, so as
to breast affairs, but the doctors refused to let him. He
thought, therefore, of an appeal to the Philharmonic Society
of London, and begged his friend Moscheles to plead for
him. To the great credit of that body let it be stated that
the Society at the earliest possible moment remitted ;£ioo

Beethoven

to the dying man, for he was now unknowingly approach-
ing his end. The incident overjoyed Beethoven, and a
reaction setting in another tapping was decided upon.
Little relief followed, and very speedily the disease and
certain complications obtained the mastery. Friends,
including Schubert, called and visited the bedside, but it
was too late — the end was at hand. The great mind was
prepared for its passing ; indeed, that sorrow which has a
healing power, of which Schopenhauer tells us, had so
absorbed the composer's pilgrimage that the prospect of
death — the change to life — instead of being much feared
must have proved a glorious expectancy for him.

Hiller, as a boy of fifteen, was one of the few who
saw and spoke with Beethoven during his last days. He
was the companion of his master Hummel on a profes-
sional tour to Vienna; and Hiller thus described the
meeting: — "After having passed through a large ante-
chamber, where we saw enormous heaps of music tied
together, and piled up in tall cupboards, we entered
Beethoven's apartment. How my heart beat ! And we
were not a little surprised to see him sitting at his
window, with a good-humoured expression on his face.
The grey-stuff dressing-gown he wore was hanging open.
He had on great boots which reached to his knees.
Wasted by illness, he appeared to be of tall stature, as
he rose. He was unshaven, and his grizzled hair fell
in shaggy masses over his temples. His face cleared,
and became even friendly as he recognised Hummel,
and he seemed pleased to see him again, embracing
him cordially. Hummel introduced me. Beethoven
was very kind, and I took a seat opposite to him at
the window. Every one knows that conversations with

Final Illness

Beethoven had to take place partly in writing ; he him-
self spoke, but the person whom he addressed had to
write all questions and answers. How painful it must
have been to the man who had always been excitable
— even irritable — to have to wait for each answer, and
to be obliged every instant to rein in his keen and
brilliant intellect ! On such occasions he followed with
eager eyes the hand that was writing, and seemed rather
to devour than to read what had been written.

"When we again stood by his bedside, on the zoth, it
was easy to see by his words how happy such a mark of
sympathy had made him ; but he was in a state of extreme
weakness, and could only speak in a low tone, at intervals.
' I shall soon have to undertake the great journey,' he
murmured, after greeting us. Although often giving vent
to similar forebodings, he still busied himself from time
to time with sketches and plans, which, alas ! were never
to be realised. Speaking of the noble behaviour of the
Philharmonic Society, and praising the English people,
he said that as soon as he got well he should go to
London and compose a grand symphonic overture for
his friends, the English; and that he should also pay
a visit to Mme. Hummel (who, this time, had accom-
panied us to his house), and travel about to different
places. His eyes, which, when we had seen him before,
retained all their old brightness, were now dim, and he
could not raise himself in his bed without pain. There
was now no hope of a cure, and a fatal ending to his
illness was rapidly approaching. When we saw him
again for the last time, on the 23rd March, the aspect
of the illustrious man was heartrending. He lay before
us exhausted, uttering low groans at intervals ; no more

Beethoven

words passed his lips; his brow was covered with great
drops of sweat. At one time he could not find his
handkerchief. Mme. Hummel instantly produced hers,
and wiped his face gently with it at intervals. I shall
never forget the look of gratitude in his dim and sunken
eyes as he turned towards her." *

On March 24th Schindler came and found Beethoven
with a distorted face, sinking, and almost unable to speak.
Soon Hummel, Breuning, Hiller and Hiittenbrenner arrived

r-.. , and approached the bedside of the evidently

Final .. -p., ,.

<-, dying man. ' Plaudite amici, comsedia fimta

est," cried Beethoven to his weeping friends.
Yes — with his grim sarcasm serving him to the last — the
comedy was, indeed, over ; and his friends might applaud.
Asked if he would receive the last Sacraments, the master
answered calmly, " I will ; " and these were administered
according to the rites of the Roman Church. The last
intelligible words that escaped his lips were — " I shall
hear in Heaven."

Beethoven's strong constitution made a great fight with
the King of Terrors. All through the day and night of
the 25th, and throughout the following day, was a terrible
ordeal for the death-watch. As he lay, apparently uncon-
scious, the last battle set in and continued long into the
dreary waning day. Then as night drew on Nature her-
self added to the gloom — a sudden storm of thunder and
lightning, such as had not been equalled for many a year
intensified the solemnity of the sick-room — in which his
brother Johann's wife and Hiittenbrenner were keeping
vigil. Suddenly an awful crash of thunder roused
even the dying man. The large sunken eyes opened —
1 Monthly Musical Record, June I, 1874.

Death

a clenched fist was raised in the air, and when it fell the
death agonies were over — life, the world, and its concerns
were nothing for him — the last breath had left the body
of Beethoven. As if in concert with the august life,
Nature's requiem finally gave place to a placid night.

Breuning and Schindler had already gone to Wahring
Cemetery to choose the spot for the inevitable interment ;
and when they returned it was to face the mournful duty
of laying out the corpse and settling all final affairs. A
post-mortem examination was made by Doctors Wagner
and Wawruch, following which, worshippers and friends
issued the following invitation — (a facsimile) — to the
funeral : —

aid ag. d&drz urn 3 <%66r 9&tu&mittoaa

TOon ptrfammtft (uft.in'ta U>ot>nung to Onftotbrnm tm e^varjfpanttt '^auft tit. 2oo»

am <0(ati« cor 6m @4ottm$ort.
Ctc 3119 b«gtbt(!<6 »on 6a iwd>

tcy &tn p. p. minorittn In btt

an Na JJ»(g«i fcf r C5a(T«ru4l , Im 56. 3afcr«

f-- |

Beethoven

INVITATION

TO
LUDWIG VAN BEETHOVEN'S

FUNERAL,
WJiich will take place on the z^jth March at 3 p.m.

The Meeting of Mourners will take place at the residence of the deceased, in the
Schwarzspanier House, No. 200, at the Glacis before the Schotten Gate.

The cortege will proceed from there to the Trinity Church of the Minorites in

Alser Street.

The irretrievable loss to the musical world of the celebrated tone-master took place

on the a6th March, 1827, at 6 p.m. Beethoven died in consequence of dropsy,

in the 56th year of his age, after having received the Holy Sacrament.

The day of obsequies will be made known by

L. VAN BEETHOVEN'S

Worshippers and Friends.

The news of the death spread like wild-fire over Europe.
The Viennese were grief-stricken, knowing that to an
extent they had failed to appreciate the manner of man
who had been amongst them. Twenty thousand followed
the funeral corttge, which provided such a sight as had
never before been seen in the capital. The scene at
the church door was distracting, and soldiers had to
force the way for the passing of the hearse. There were
eight pall-bearers, the musicians Eybler, Hummel, Seyfried,
Kreutzer, Weigl, Gyrowetz, Wiirfel and Gansbacher. A
crowd of appreciative friends — notables all — mournfully
carrying tapers, surrounded the coffin, the big form of
Lablache towering over all the rest. Four performers on
trombones rendered the dead master's own requiem — the

Funeral

Funeral-Equale; and a male choir performed other appro-
priate music. With the service over the vast procession
moved to the cemetery, where a funeral oration was
delivered by the actor Anschiitz. The last honour was
paid by Hummel. As the mortal remains were lowered
out of sight the famous pianist, with deep emotion, rested
three laurel wreaths on the coffin of the illustrious dead —
aged fifty-six years and three months.

The grave was a plain one, near by the spots where
Schubert, Clement the violinist, and Seyfried were subse-
quently laid. It was long neglected, but as recently as
1863 the remains of both Beethoven and Schubert were
exhumed and reburied. Over the former there now rests
a slab of stone headed by an obelisk. All that this
memorial proclaims is expressed in one sufficing word
—BEETHOVEN,

Beethoven : The Man.

A Foremost Personality — Physical Appearance — Man and Mind —
Characteristics — Fondness for Joking — An undesirable Lodger —
Some of the Lodgings — Troubles with Servants — A Bohemian's
Den — As a Lover — Female Attachments — A Postilion cT Amour
— Temperament and Disposition — Affection for his Nephew
— Good Traits — Receives Schubert — Opinions on fellow-
Musicians — Beethoven and the Professors — A Bad Man of
Business — Intellectuality in Musicians — Beethoven maxims
— The ' ' Letters " — His Politics — Dismisses Napoleon — Rates
Goethe — Habits of Abstraction — Portraits — Masks, Busts and
Monuments — No Formal Religionist — Purity of. Life — Worthy
Deeds.

THE consideration of Beethoven personally furnishes an
engrossing study. The grand but uneven personality who
had tasted the qualities of the extremes of obscurity and
renown will ever provide genuine enquirers with a rare
and absorbing subject as a man and fellow-being, apart
from his attributes as a musician. Beethoven was one of
those embodiments of the regular and irregular in human
nature which, marked by strong characteristics — not
necessarily good ones — go to make up the striking figures
of history. He was equally at home in the tap-room
of the "Swan" and at the table of the palace; and if

Corpse Exhumed

he ever picked his teeth with the snuffers, this unenviable
notoriety could only have been obtained as .

the penalty of some gross wantonness or -.

L j- j cc u- i_ 1-1 u- r i c Foremost

studied offence to which, like his freaks of ,, ,.

horseplay, he was not unaddicted. The
good and bad, indeed, could both be traced in the
outward attitude of the great musician, but unquestion-
ably the good largely predominated.

Nature had moulded Beethoven one of her noblest
sons, yet was there not a little of the contradictory in
his character. From first to last his course was a plane
above the common roadway of life, and throughout a
struggling career — amid great anxieties and temptations —
he seldom stepped from it : born a foremost man, he
played the part well, if inconsistently. Throughout he
was firmly impressed with the conviction that he could —
as he did — do everlasting work, and in more ordinary
matters, sustain great burdens, and carry the heaviest
everyday loads of life, even of relationship, which weak
men make it their study to refuse and shirk. This
symptom of true greatness was perfectly natural. " Man
is man and master of his fate,"1 and Beethoven was a
great apostle of the creed. He lived and worked not so
much for himself as for others, because he felt instinc-
tively that he should do so, and moreover that he was
designed for that end.

When, on October i3th, 1863, the Gesellschaft der
Musikfreunde exhumed and reburied Schubert, the occa-
sion (prompted by a certain inquisitiveness which is
rampant everywhere), was used for disturbing Beet-
hoven's bones, which lay three places higher up in the

1 Tennyson.
D 49

Beethoven

Ortsfriedhof of Wahring. The skeleton of the Bonn
master proved him to be 5 ft. 5 in. high so that like
many of the world's greatest men, he was below medium
stature.

There is a full-length sketch of Beethoven in line by
Lyser that is splendidly characteristic of the master, and
which — beyond the fact of the hat being on one side of
„, . . the head instead of straight on — has been
.y pronounced by no less an authority than

Beethoven's friend Breuning to be a particu-
larly accurate presentment. It looks so. We
see the thick-set, broad-shouldered little giant — Seyfried
said he was the "image of strength" — not quite pro-
portionately formed, but with all the "cut" of a great
personality. It sets out too the extraordinary intellectual
features of Beethoven.

. The head was large, with a grand forehead, great
breadth of jaw, and somewhat protruding lips, the lower
one more developed in his later years as the habit
of serious reflection and set thought grew more intense.
A profuse mass of black hair, cast upwards and back-
wards, left the full open face — the more striking with
its ruddy clean-shaven skin. As Beethoven grew older
and bore the brunt of excessive troubles, his hair, as
abundant as ever, turned white, but remained a great
ornament behind his red but, as we are informed,
from early youth pock-marked face.1 The eyes arched
with luxuriant brows were, indeed, the mirror of his
soul. Large and jet-black, they were full of the fire
of genius, and on occasions of special joy or inspira-
tion were remarkably bright and peculiarly piercing,
1 Bernhard, Breuning, Seyfried and others.

5°

Lyser's Sketch of Beethoven

Temperament

The teeth — beautifully white and regular — were much
shown in laughing; happily, the careless man at least
kept them brushed. Unlike his hands, Beethoven's
feet were small and graceful. The former were ugly,
thick, dumpy, with short untapering fingers, which could
stretch little over an octave and afforded anything but
the impression of grace or fluency over the piano keys.
His voice varied. When quite himself it was light in
tone, and singularly affecting; but when forced, as it
so often was, on occasions of anger and temper, it
became very rough and far from sympathetic.

Inclined to be a handsome young man, as the minia-
ture by Kiigelgen suggests, he did not improve in looks
as the strain of musical storm and stress told its in-
evitable tale. Yet there were occasions when his smile
was something to witness, when the rare soul and in-
tellect of the master burst through the lines of the
serious, earnest face, and all who were fortunate enough
to witness it were richer by an experience that could
never be forgotten. It is to be regretted that there
were not longer periods of this elasticity of mind; but
alas ! the troubles of life, many of them of the com-
poser's own creating, were more than he could manage
to regard philosophically, while his temper and surround-
ings suffered accordingly. Unlike more than one of the
great musicians he allowed no amount of patronage to
influence his freedom of mode or thought. It might
have been better had it been otherwise. If, like Haydn,
he had been fated to appear in a court costume of
official blue and silver — though he hated the idea of
being a salaried lackey, the ordeal might probably have
brought good results. As it was the good beginnings

Beethoven

made with his exterior — the silk stockings, long boots,
sword, peruque with tag behind, double eyeglass and
seal ring — the whole amounting to a young man's most
fashionable attire, ultimately gave way to a complete
carelessness as to outside appearances. He now shaved
himself irregularly and hacked his face terribly in the
process, so that at times his beard, as when Czerny first
met him, showed a seven days' growth. This, with his

, .. , shocks of unkempt hair standing erect, ears

Man and ,.,. , ., .

,... , filled with medicated wool, and clothes of

a hairy substance that might have suited a
hermit, contributed to a strange spectacle. His great
admirer, and his ideal — the Countess Gallenberg — could
not refrain from noticing his appearance. "He was
meanly dressed," she tells us, "very ugly to look at,
but full of nobility and fine feeling and highly cultivated."

Yes ! Beethoven's nobility of mien never left him to
the last, and though as years passed he grew harsh in
his features, neglected himself and got shockingly untidy,
his grand face never wholly lost its rare expressiveness.

With no other of the great masters was the clash of
life so keen and so sustained. Boyhood, early man-
hood, and middle age were each marked by consuming
troubles and toil, which death alone ended. Much of
the gloominess and abstractedness of Beethoven may
be charitably set down to those periods of inward
working out of musical ideas, whether indoors or out.
Then there was his early deafness which, while it in-
commoded him at every turn in his artistic labours,
caused him also perpetual mental reflection and misery.
Add to this his general bad health, a suggestion of
hereditary taint, and constant dependence upon medical

Characteristics

men more or less skilful; his slowly wearing stomach
disease — which eventually killed him — the sum of these
considered and it is little surprising that he engendered
a vile temper that gave him chronic dyspepsia, which,
in its turn, reflected itself in his features and taciturn
and bearish moods. Rocklitz has described him as a
"genius brought up on a desert island, and dropped
suddenly into civilisation."

The riddle of humanity is more perplexing than ever
if we seek to solve it through the person of Beethoven.
The wonder is that out of such an existence — an exist-
ence compounded to some extent of self-inflicted tor-
ments and of miseries for which he may have been
but partially responsible, should have poured such floods
of pre-eminent music — music that will live to feed the
souls of mortals as long as the sun shall shine.

On his death-bed Beethoven read Scott for the first
time. He threw " Kenil worth " down with the utter-
ance, "the man only writes for money," and may, or
may not, have been propounding a solemn ~,
truth. In any case the real Beethoven was

i • iu •<. -^u u- • ISttCS

speaking, albeit with his usual perverse in-
consistency. No art- worker of any note was ever more
infected probably with a life-long yearning for money
than was the Bonn master. Yet was this not for him-
self, but invariably for others, or in order that he might
the better acquit obligations which were neither legally
nor rightfully his own. Thus his expressed hope in one
of his 1822 letters that he might "yet acquire pro-
sperity" had infinitely less to do with his own reputa-
tion and convenience than with the future comfort and
safety of his rascal nephew. Throughout his life we

Beethoven

find Beethoven playing the part of the great good man
in no mild fashion.

The study of the personality — difficult as it is, and
incongruous as it undoubtedly was, — affords a singularly
interesting feature in our Beethoviana. The world, happily,
knows much of Beethoven's music. To know more, to
understand the man, we must, as our great historian says
in one of his Essays, "look beyond the individual man
and his actions or interests, and view him in combination
with his fellows."1 Here he stands out in bold relief.
Varnhagen von Ense after an intimate acquaintance found
the man in him stronger than the artist. Beethoven was
as much a good citizen, a sterling fellow, kind relation and
friend, as he was a great musician. The keynote of his
whole character may be touched in the brave step he took
when his unhappy father died. He gathered the reins and
kept things together — working with might and main to
preserve the humble home. Then, his whole artistic
life affords a grand model for every earnest student
plodding on towards some high aim. There never was
a more genuine worker. "The art of taking infinite
pains" was the real secret of his vast success. His
Sketch-books show this and indicate how every idea
that occurred to him as being worth keeping was duly
noted and improved over and over again. The manner
in which he wove these threads of themes into vast
musical constructions, his rigid correction and finish of
every idea, and the extraordinary working and develop-
ment which he threw into each one of his thousand
movements, stamp him as one of the most consummate
toilers that the world has ever praised or blamed.
1 Carlyle.

Natural Temperament

As a schoolboy Beethoven was reserved, having little
of that boisterous element which characterises ninety-nine
out of every hundred lads. Caring little for boyish amuse-
ments, he was noticed to be invariably self-contained,
quiet, and reflective. He preferred to be alone, and this
love of solitude — which was marked throughout his life —
gave him precious time to devote to his favourite pursuit
— that of forming music both on paper and the pianoforte.

His marvellous capacity for work showed itself very
early in life, for he began composing with a purpose
before most children have done with their toys. The
manner in which he early sought, or was prompted to
seek for patronage in the highest quarters was also but
the beginning of a ceaseless striving for reward and
recognition which continued until he lay on his last bed.
His musical industry generally, too, must have been
astonishing indeed for him to have made the theoretical
and technical advance in his art which contemporaries so
loudly acclaim — in addition to which there was his general
education to be remembered, and this received no un-
grudging share of his time and thought. It is manifestly
clear that Beethoven, as a youth, was an exceptionally
earnest toiler — with all that seriousness which developed
so mightily in the after man. That he was well conducted,
trustworthy, and had won the respect and affection of
others is evident from the manner in which he kept his
various appointments, and the efforts made by those in
authority to advance his interests whenever, and wherever
possible. It is hardly necessary to further emphasise
the fact that Beethoven's natural temperament was by no
means even or pleasing. Indeed, some of the situations
in which he figures, while they rob the chief actor of much

Beethoven

of that romantic halo which weaves itself so readily round
a great master — a musician, particularly — can only be
accounted for on the principle that musicians of a high
order must not be judged as mortals who revolve in the
ordinary sphere of the unimaginative. Beethoven, at any
rate, both in his own words and through the testimony of
others, has furnished ample proof of being no common-
place character — apart altogether from any consideration
of him as a musician. Whatever he was inwardly — and
he was good at heart — he had a brusque, inconsiderate,
and sometimes downright rude and boorish bearing to-
wards others, which often caused a pang to those who
were devotedly concerned for his welfare. Spohr gives
the following picture of their first meeting in 1815 : —
" We sat down at the same table, and Beethoven became
very chatty, which much surprised the company, as he
was generally taciturn, and sat gazing listlessly before
him. But it was an unpleasant task to make him hear
me, and I was obliged to speak so loud as to be heard
in the third room off. Beethoven now came frequently
to these dining-rooms, and visited me also at my house.
We there soon became well acquainted. Beethoven was
a little blunt, not to say uncouth; but a truthful eye
beamed from under his bushy eyebrows."1 At times
wonderfully considerate for others, there were occasions
when his behaviour was ill-advised, ungenerous and un-
called-for to a degree. No one of the great masters of
music was ever blessed with a finer intellect, or possessed
keener mental perception or higher motive than Beethoven ;
yet, when regarding him as the man apart from the musician,
it is impossible to leave the subject with a quite satisfactory
1 "Autobiography," page 184.

A Joker

impression that we have been in the company of a real
hero among men.

One of the marked characteristics that showed itself
very early in Beethoven's life, and remained ever after-
wards, was his fondness for joking, which not only took

a practical shape, but often developed into ^ ,
u i iin. u ..i- r c.c<. fondness

sheer horse-play. When but a youth of fifteen , r , .

years (1785), he was organist of the Electoral •' •*
Chapel at Bonn, whereat was a coxcomb who was constantly
pluming himself upon his singing abilities, or upon the
inability of the accompanist to disconcert or " throw him
out " when singing. Beethoven soon made a wager that
he would bring him to a standstill, and at one of the
services in Passion week, while the singer was warbling in
the most approved fashion, Beethoven, by a gradual and
adroit modulation, suddenly landed the vocalist in a region
in which he could not move nor do anything but leave off
singing. The trick was almost too complete. Choking
with rage, the singer complained to the Elector, who —
wise man — acted on the audi alterant partem principle
and came to the conclusion that both were in the wrong,
while if there was any difference, more blame attached
to the singer for his meanness in complaining of his
antagonist after having himself been a party to the wager.
We have Seyfried's testimony that one autumn day of
1825, Kuhlau and some kindred spirits set out for Baden
where Beethoven then was. With great glee the master
escorted them to a neighbouring "Bier-Garten" and a
jovial day was the result. The quantity and quality of
the champagne so moved Kuhlau that he extemporised a
canon in honour of Beethoven. There and then Beethoven
responded, but the morning, bringing its reflections, the

Beethoven

constant, self-criticising composer changed his mind and
sent Kuhlau a note with the following : —

KuhT

nicht lau

-*- -»-.

-p— --

nicht lau, Kuhl

=?3fc*t

nicht

&C.

lau, Kuhlau nicht lau, Kuhl nicht lau,

The note ran thus : —

3 September.

" I must confess that the champagne got too much into
my head last night, and has once more shown me that it
rather confuses my wits than assists them ; for though it
is usually easy enough for me to give an answer on the
spot, I declare I do not in the least know what I wrote
last night." l

When Beethoven heard that his friend, and sometime
master for the viola, had married, he wrote : " Schuppanzigh
is manied. I hear that his wife is as fat as himself. What
a family ! ! " Nor was he above a twit for his good-looking
friend who had attained most abundant proportions. " My
Lord Falstaff," Beethoven nicknamed him, and so referred
to him in writing. Another piece of drollery referring to
Schuppanzigh was scrawled by Beethoven on the fly-leaf
of his Sonata, op. 28 : —

Schup • pan - zigh ist ein Lump, Lump, Lump, Wer
1 " Dictionary erf" Music and Musicians," Vol. 2, p. 76.
58

Ungallant Act

keunt ihn, wer keunt ihn nicht ? Den dick - en Sau - ma - ge • den

• auf-ge blas-nen E - sels-kopf, O Lump, Schup-pan-zigh, O

What also looks like a joke is the title in the Sketch-
book to the slow movement of the Quartet in F,
" Einen Trauerweiden oder Akazienbaum aufs Grabmeines
Bruders."1 His brother Carl's marriage certificate had
only just been signed, and Beethoven, having given up
probably all hopes of matrimony, may have seized this
occasion and method of expressing his feelings concern-
ing the rite and the step which his brother had elected to
take.

Even the softer sex were not spared Beethoven's wanton
love of frolic. His head was not an unusually tidy one,
yet this did not prevent him being the recipient of fre-
quent requests for locks of his hair ; indeed, had the com-
poser gratified a small percentage of such requests, he
would soon have been bald. He was known, however, to
occasionally respond to them, especially to ladies ! Thus
encouraged, the wife of a Viennese pianoforte player and
composer, who had long possessed a desire for a lock of
his hair, induced a friend to solicit the precious relic.
The friend suggested a joke, and the sending a lock of
hair from a goat's beard, which Beethoven's coarse grey
hair closely resembled. Shortly afterwards the lady WHS

1 "A weeping- willow or acacia tree over the grave of my brother."

Beethoven

informed of the trick. An indignant letter was written to
the composer upon his lack of gallantry, and this, as might
be expected, drew forth a full apology from the composer
and one of his best locks that could be spared. The
friend who had suggested the deception was warmly rated
for his pains.

The nick-names that he applies to his friends — whether
high-born or low — are extraordinary, and when not in good
taste are unquestionably exactly the reverse. " Ass of a
Lobkowitz " he styles his good friend the prince ; his
brother Johann is stigmatized "Brain-eater," "Asinus,"
and the like ; while Leidesdorf, the composer, is let off
with " Village of Sorrow " — Dorf des Leides. Zmeskall,
who was so good to him in his domestic trials, comes
in for constant banterings — " Carnival scamp," " Court
Secretary and member of the Society of the Single
Blessed," "Confounded little quondam musical Count,"
"Wretched invited guest," "not musical Count but
gobbling Count," "Dinner Count," "Supper Count,"
" Sublime Commandant Pacha of various mouldering for-
tresses ! ! ! ! " Bernard is " Bernardus non Sanctus " ;
Holz he addresses as "lieber Holz von Kreuze Christi,"
and so on. He himself is " Generalissimus," " Haupt-
mann," "the Captain," Haslinger "Adjutant," Krumpholz,
the "fool," with Schuppanzigh and Bolderini as "Sir
Falstaff," &c.

The joke had never to be against Beethoven, however,
or there was an eruption at once. A shaft of wit, or the
most evident piece of pleasantry, with him as the target,
was resented furiously. One day Prince Lichnowsky came
to Beethoven, begging him to listen to something he had
composed. The Prince sat down to the pianoforte and

Intolerable Neighbour

rolled off a part of the famous Andante in F, of the
" Waldstein " Sonata (which, it appears, the composer
had played to Ries, and Ries had repeated to the Prince).
Before the talented amateur had progressed far, Beethoven
rose up in a towering rage, shut down the piano, roundly
abused the Prince, and from that day forward played it
no more in Ries's presence. He turned his back for
ever also upon the clever musician Himmel for no greater
slight than a well-deserved rebuke. Himmel, while
playing and extemporising, had been nettled by a
remark as to when he was really "going to begin."
Sometime' afterwards Beethoven was apprised of the
invention of a lantern for the blind ! On realising
the thrust, he was absolutely red-hot with rage at
Himmel.

But everyone should go to his " Letters " and hear
from his own pen the many stories of his escapades with
servants, — antics like that of emptying a tureen of stew
over the head of an incompetent waiter — together with
his ideas of men and things as they were about him
generally.

As a lodger, Beethoven had few equals. Probably
there never was a more troublesome occupant of rooms,
or one who could more successfully try the patience of
those about him. If he was not at war with his landlord,
then it was his landlady or fellow-lodgers who, rightly or
wrongly, were engaging his execrations. Wholly lost in
music, the thought never entered his head of what an
intolerable neighbour he distinctly was, and at all hours of
the day and night he was at his pianoforte, pouring forth
and rounding off the music that filled his soul. His

Beethoven

tempestuous energy in playing converted the instrument
M jj as it were into a complete orchestra, and it

, . ,, never occurred to him that this laudable
desirable . , . , . ...

,- , industry might possibly prove trying to the

* nerves of others. It is easy to understand, too,

that as his deafness increased, and he struck and thumped
harder and harder, this did not tend towards the peaceful
slumberings of those above and below him.

Nor was this all. The music that racked his brain gave
him no rest — he became an inspired madman. For hours
he would pace his room, " howling and roaring," as it has
been put ; or he would stand beating time to the music
that was so vividly present to his mind. This soon put
him into a terrible excitement, which could only be
allayed by a frequent recourse to the water jug, the
contents of which he poured over his head and bared
arms until the floor was swimming with water. Damaged
ceilings were the consequence — and with complaints as to
these, discord between owner and tenant was set going.
Then the fellow-lodgers threatened to quit unless the
' madman ' went, so that on the whole there was a little
of the 'undesirable' about Beethoven as a lodger. A
worse habit affected the owner more than the com-
poser's fellow-lodgers. He injured the furniture in terrible
fashion. Rather than lose his customary walks, he would
go out in the wettest of weathers, then come in dripping
with rain and shake the water from his hat and clothes,
quite oblivious, seemingly, that he was spoiling the carpets,
coverings and furniture. He had a habit of shaving at
his window and passers-by could see and sometimes pelted
him. Of course the landladies objected, but he would
not discontinue the practice, preferring to pack up his

As a Lodger

things and seek fresh lodgings. For this and similar
reasons he was at one time paying the rent of four
lodgings at once. Moscheles vouches for the truth of the
following incident : — " When I came early in the morning
to Beethoven he was still lying in bed ; he happened to
be in remarkably good spirits, jumped up immediately,
and placed himself at the window looking out on the
Schottenbastei just as he was, with the view of examining
the Fidelia numbers which I had arranged. Naturally
a crowd of boys collected under the window when he

roared out : " Now, what do those boys want ? " I

laughed and pointed to his own figure. " Yes, yes, you
are quite right," he said, and hastily put on a dressing-
gown ! To detail all Beethoven's lodging- <, , ,
house experiences and troubles would be ' ,- , .
superfluous here. An example or two will * *

suffice. His first lodging after settling in Vienna was a
garret over a printer's shop in Alservorstadt. Subse-
quently he shared with Breuning some rooms in the
Rothe-haus, but soon fell out with the friend whose
family had been so good to him. The quarrel was not
on account of any money that was involved — the com-
poser was above that — but because of some insinuations
respecting his meanness. There was yet another point.
Beethoven had omitted to give his previous landlord
notice, with the result that on this occasion again he
had to face the paying of two rents simultaneously. At
another time he was in the low-lying " tiefen-Graben "
which he soon afterwards exchanged for a higher situated
room in the Sailerstatte. He also tried the Ungergasse
near the Landstrasse gate. From 1804 to 1807 he had
rooms in the house of Baron Pasqualati on the Molker-

Beethoven

bastion in Vienna. It was an uncomfortable abode on
the fourth story, and facing due north — removed conse-
quently from the sun's rays which were so necessary to
a nature such as his. Doubtless he was anxious to be
near his patrons the Lichnowskys and Erdodys, who
occupied a large house over the Schottengate. A break
with the Countess Erdody occurred however, whereupon
the masterful man betook himself to the other side of
Vienna for a couple of years.

In the summer it was his wont to quit the city for the
country. Then he would repair to Hetzendorf, Dobling,
or one other of the environs and country places around
Vienna, or he would go further afield to Modling or
Baden. Not always were the changes thrust upon him.
He frequently was the objector and injured person. Thus
in the autumn of 1800 he was at the Grillparzers' house
at Unter Dobling, a short walk out of Vienna; but one
day discovering Madame Grillparzer listening to his play-
ing outside the door, he became furious and offensive
— quitting the place forthwith. In a similar fashion
he suddenly left a habitation because he had detected
Gelinek — who lodged in the same house — stealing his
themes, and reproducing them on his (Gelinek's) piano.
On another occasion he resolved to quit a really comfort-
able lodging, for which he had paid 400 florins in respect
to advanced tenancy, for no other reason than that the
landlord, Pronay, would raise his hat whenever Beethoven
crossed his path ! He could have fared little better when
he had lodgings free at the theatre, as he often did, inas-
much as he was then face to face with his own servants —
and these he never could manage.

That his landlords were considerate towards the man

A Real Friend

of genius there is every indication. Baron Pasqualati,
for instance, would never allow Beethoven's lodgings on
the Molker-bastion to be let over his head, although the
tenant forsook them as he did the apartments of the
nobility for unconscionably long intervals. " Let them
alone" was his, like their, invariable reply, "Beethoven
is sure to come back." The actual building in which
the great musician was lodging when he died was the
Black Spaniards' house — the Schwarz-spanierhaus, of
which we give an illustration. He migrated there
in the autumn of 1825, and remained until the day of
his death. It was originally a monastery of the Bene-
dictines. The composer was lodged in the upper story,
and from his bed could see the houses of Lichnowsky,
Erdody and Breuning. It was a fit place for the passing
harmonist. He had sunshine, which was all that he craved,
moreover he could contemplate the vast disparity between
his own life-long struggle for art, and the ease and afflu-
ence of fortunate aristocracy within the walls which he
could see whenever he raised his poor head on his arm
off his sick-bed.

No one was more helpful to the composer in his domes-
tic anxieties than was Zmeskall, who never hesitated to
render every assistance in his power whenever the bad-
manager-Beethoven was afflicted — as he often was — with
household discords, and even at open war with servants.
One of Beethoven's earliest friends in Vienna, Zmeskall,
often had more trouble of this kind thrust upon him than
most men would care for, he probably knew, however,
the vagaries of the genius. " My most excellent, high
and well-born Herr v. Zmeskall " Beethoven would address
his friend, and then proceed to prefer whatever point re-

E 65

Beethoven

quired urgent treatment. A sample or so of these, all of
different dates, are as amusing as they are characteristic: —
" I leave it entirely to you to do the best you can about
my servant, only henceforth the Countess Erdody must
not attempt to exercise the smallest influence over him."
„, , . — " A suitable lodging has just been found

out for me, but I need someone to help me
with „. ' T

<-, in the affair. 1 cannot employ my brother

because he only recommends what costs
least money. Let me know, therefore, if we can go to-
gether to look at the house. It is in the Klepperstall." *
— " Herzog is to see you to-day. He intends to take
the post of my man-servant ; you may agree to give him
thirty florins, with his wife obbligata, firing, light and
morning livery found. — I must have someone who knows
how to cook, for if my food continues as bad as it now is,
I shall always be ill." — "Supposing you have no other
fault to find with the man (and if so, I beg you will
candidly mention it), I intend to engage him, for you
know that it is no object with me to have my hair dressed.
It would be more to the purpose if my finances could be
dressed, or redressed"

" About another servant as the conduct of my present
one is such that I cannot keep him." (This is the servant
who enjoys the reputation of scratching Beethoven's face.)
"He was engaged on the 25th of April, so on the 25th
September he will have been five months with me, and
he received fifty florins on account. The money for his
boots will be reckoned from the third month (in my
service) and from that time at the rate of forty florins per
annum, his livery also from the third month. From the
1 Letter, April I7th, 1809.
66

Some Servants

very first I resolved not to keep him, but delayed dis-
charging him as I wished to get back the value of my
florins. . . . You know pretty well the servant I require,
good, steady conduct and character, and not of a blood-
thirsty nature, that I may feel my life to be safe. It would
be well if he understood a little tailoring."1 — "When you
have a moment's leisure, let me know the probable cost
of a livery, without linen, but including hat and boots.
Strange things have come to pass in my house. The man
is off to the devil ! I am thankful to say, whereas his wife
seems the more resolved to take root here."2

Frau von Streicher was another who helped to lift the
load of housekeeping troubles off the back of the harassed
composer, — for, as time went on, he seemed to get deeper
into the slough of domestic ills. Here are extracts from
his letters to this admirable lady on this not pleasant
subject : — " Nany is not strictly honest, and an odiously
stupid animal into the bargain. Such people must be
managed not by love but by fear. I now see this clearly.
Her account-book alone cannot show you everything
clearly, you must drop in unexpectedly at dinner-time,
like an avenging angel, to see with your own eyes what
we actually have. I never dine at home now unless I
have some friend as my guest, for I have no wish to pay
as much for one person as would serve for four." — " You
are aware that I discharged B. (Baberl) yesterday. I
cannot endure either of these vile creatures. I wonder if
Nany will behave rather better from the departure of her
colleague? I doubt it, but in that case I shall send her
packing without any ceremony. She is too uneducated

1 Letter, September 5th, 1816.
"Letter, December i6th, 1816.

Beethoven

for a housekeeper — indeed quite a beast, but the other, in
spite of her pretty face, is even lower than the beasts."
— "I am rather better, though to-day I have again been
obliged to endure a good deal from Nany, but I shied half-
a-dozen books at her head by way of a New Year's gift." l

" Nany yesterday took me to task in the vulgar manner
usual with people of her low class about my complaining
to you. . . . All the devilry began yesterday morning, but
I made short work of it by throwing the heavy arm-chair
beside my bed at B.'s head." If more is wanted, an idea
of his domestic felicity may be formed by a glance at his
diary of the year 1819 : "January 31. — Given notice to
the housekeeper. February 15. — The cook has come.
March 8. — Given 14 days' notice to the cook. March 22.
— The new housekeeper has come. May 12. — Arrived at
Modlin. Miser et pauper sum." And so on in the same
key.

Indulging in this method of managing his domestics, it
is little wonder that changes were as constant as they were
probably necessary, especially as he was a difficult man to
please in the culinary department. Among his favourite
dishes was a bread soup, made in the manner of pap, in
which he indulged every Thursday. To compose this, ten
eggs were set before him, which he tried before mixing
them with the other ingredients, and if it unfortunately
happened that any of them were musty, a grand scene
ensued; the offending cook was summoned to the pre-
sence by a tremendous ejaculation. She, however, well
knowing what might occur, took care cautiously to stand
on the threshold of the door, prepared to make a pre-
cipitate retreat; but the moment she made her appear-
1 Letters, 1819.
68

Matrimonial Lingerings

ance the attack commenced, and the broken eggs, like
bombs from well-directed batteries, flew about her ears,
their yellow and white contents covering her with viscous
streams.

That the servants had a trying time of it is palpable
enough. A more careless, untidy man never was. One
who visited him says, "The most exquisite confusion
reigned in his house. Books and music were ..

scattered -in all directions: here the residue ,, , . ,
c u , i c 11 Bohemians

of a cold luncheon — there some full, some ~

half-emptied, bottles. On the desk the hasty
sketch of a new quartet ; in another corner the remains
of breakfast. On the pianoforte, the scribbled hints for
a noble symphony, yet little more than in embryo — hard
by, a proof-sheet, waiting to be returned. Letters from
friends, and on business, spread all over the floor. Be-
tween the windows a goodly Stracchino cheese : on one
side of it ample vestiges of a genuine Verona Salami ; and,
notwithstanding all this confusion, he constantly eulogised,
with Ciceronian eloquence, his own neatness and love of
order ! When, however, for whole hours, days, and often
weeks, something mislaid was looked for, and all search
had proved fruitless, then he changed his tone, and bitterly
complained that everything was done to annoy him. But
the servants knew the natural goodness of their master;
they suffered him to rave, and in a few minutes all was
forgotten, — till a similar occasion renewed the scene."

Here we must go more fully into Beethoven's matri-
monial lingerings, since they constitute quite a feature
of his history. It is scarcely surprising that a nature like
Beethoven's — a heart and soul and intellect ever qualifying

Beethoven

for soarings higher and higher in imaginative, romantic
realms, — should fully realise the wondrous possibilities
of Love, the principle of existence and its only end, as
all should know. Too truly, perhaps, was his the mind
adequately to appreciate

" That orbit of the restless soul,
Whose circle graces the confines of space,
Bounding within the limits of its race
Utmost extremes."1

Yet, though perpetually in love, Beethoven, as we have
seen, never married — an unaccountable matter, consider-
* ing his views of the wedded state, and remem-

,- bering that his extraordinary musical power,

and striking, though far from handsome,
personality attracted women to a not less degree than
they magnetised men. Despite his exterior, he was much
encouraged by the other sex, whether high-born or low.
" Oh, God ! let me at last find her who is destined to be
mine, and who shall strengthen me in virtue," was his life-
long cry ; but withal he got no farther towards the married
state. There is some reason to fear that he loved not
wisely but too zealously, and that his attachments, though
honourable, were betimes of a promiscuous order. While
favouring women of rank, he was not proof against the
pretty ways of cofiee-shop waitresses and tailors' daughters,2

1 Boker.

2 " Beethoven never visited me more frequently," says Ries, in
Wegeler's "Biographical Notices," "than when I lived in the house
of a tailor, with three very handsome, but thoroughly respectable
daughters." In a letter to Ries (July 24, 1804), Beethoven gives this
warning : " Do not be too much addicted to tailoring ; remember me
to the fairest of the fair, and send me half a dozen needles. "

Beethoven at the age of

His First Love

a point which discounts his worth as a swain. We find
two score or more ladies immortalised in his dedications,
a number which falls far short of those to whom he pre-
ferred his extravagant gallantries. Few great men have
proved less insensible to the charms of the fair sex, and
even if his vast genius, through that most impressive and
subtle medium of all art, failed to touch every heart,
Beethoven's notions of love were still sufficiently exciting
to arouse the least impressionable of his tender acquaint-
ances and correspondents. His flights of romance were
positively astonishing, and would have done credit to the
methods of the Middle Ages.

That in several respects marriage would have been
advantageous to the master there is no doubt, for he
possessed not the merest aptitude for dealing with matters
of household management. Whether such a marriage
would have suited a possible Mrs Beethoven is quite
another question. The tribulations showered on un-
fortunate housekeepers would have been terribly mis-
placed if heaped upon the head of a devoted wife. The
true student of Beethoven prefers him as he remained,
since there is proof that he deserved it. His loves were
too many, and his protestations too profuse, to prove
effective anywhere; and though some can admire the great
musician for his sympathy with the matrimonial estate,
the close enquirer into Beethoven's character finds him
a queer being, who from early yo':th was never quite con-
valescent from a disease called ' Love.'

When little more than twenty years old he fell in love
with Babette,1 daughter of the proprietress of the coffee-
house where he took his meals. At the age of twenty-
1 Subsequently the Countess Belderbusch.

Beethoven

three, Eleonora von Breuning was his human ideal, and
would probably have made him a good wife. This lady
administered to his creature comforts, and besides knit-
ting him woollen comforters, worked the most acceptable
Angola waistcoats. Writing to her from Vienna, the

zr 7 A* young virtuoso adds : — " I venture to make
Female At- '

, one more request — it proceeds from my great

tachments f „ ,. %

love of all that comes from you ; and I may

privately admit that a little vanity is connected with it —
namely, that I may say that I possess something from
the best and most admired young lady in Bonn." x Though
full of affection for this young lady, she, like the charming
Babette, married another — less talented, we may be sure,
but with some marriageable attractions which the com-
poser evidently did not possess.

The highest ladies in Vienna society were drawn to
him, and the Princess Lichnowsky, Madame von Breun-
ing or Frau von Streicher could not have made more
of an only son. Such aristocratic beauties as the Prin-
cess Odeschalchi,2 the sisters of the Count of Brunswick,
Countess Marie Erdody,3 the Baroness Ertmann — and
more — entertained a sincere affection for him. Then
there was the Countess Giulietta Giucciardi.4 "My angel!
my all ! my second self ! " he addresses her, and again —
" Dearest of all beings," concluding a most passionate
protestation with the hot charge "Continue to love me.

1 Letter, November 2nd, 1793.
3 Nie Keglevics.

3 This lady erected a temple in her park to the memory of Beethoven.

4 Three of his famous love-letters were found in Beethoven's desk
at his death, and are now supposed to have been written to Countess
Therese von Brunswick and not to Countess Giucciardi.

Love Declarations

Yesterday, to-day, what longings for you, what tears for
you ! for you ! for you ! my life ! my all ! Farewell ! Oh !
love me for ever, and never doubt the faithful heart of
your lover : Ever thine, ever mine, ever each other's." 1
Giulietta Giucciardi is one of those whom the composer
would certainly have married could he have done so. She
affected him astonishingly. " This change," he writes,
"has been wrought by a lovely fascinating girl who
loves me and whom I love. I have once more had
some blissful moments during the last two years, and
it is the first time that I have felt that marriage could
make me happy. Unluckily, she is not in my rank
of life, and, indeed, at this moment I can marry no
one."2

That serious complications did not arise from his
searchings for a wife is as remarkable as anything of this
nature can be. It is pretty clear that a union with Countess
Thdrese von Brunswick only needed one step for its con-
summation. Beethoven had known her in 1794 as a girl-
pupil of fifteen, and had even rapped her knuckles angrily
for inefficiency. In May 1806 master and pupil were for-
mally, though secretly engaged, and this with the full
knowledge and consent of her brother Franz, the head
of the family. After four years of waverings all this was
broken off.

His experiences with The'rese did not cool his ardour
as a tempter of the affections. Now, the Venus of this
Adonis was the afore-mentioned Bettina Brentano. " My
dearest friend," he writes to her, and " dearest girl, my
dearest, fairest sweetheart," are a few of the declarations

1 Letters, July 6th and 7th, 1810.

2 Letter to Wegeler, November i6th, 1800.

Beethoven

which he pours out of his passionate vocabulary.1 In
1 8 1 1 the composer was smitten with Amalie Sebald. He
met her at Toplitz and was struck with her amiable dis-
position and enchantingly beautiful voice. Her album
was soon the richer by the following epigram : —

" Ludwig van Beethoven
Whom if you ever would,
Forget you never should."

From a letter dated Toplitz, August isth, 1812, Beet-
hoven was acquainted with Bettina von Arnim, who, if
written testimony goes for anything, would also appear to
have affected him considerably. "What thoughts," says
the composer, " rushed into my mind when I first saw you
in the observatory during a refresning May shower, so
fertilising to me also. . . . Adieu ! adieu ! dear one.
Your letter lay all night next my heart and cheered me.
Musicians permit themselves great license. Heavens,
how I love you!"

On two occasions, at least, Beethoven made definite
marriage proposals, in the case of one of which he had
the chagrin of finding that the lady, Fraulein Roeckel,
had given her heart and promised her hand to another —
his friend Hummel. From a letter to Breuning in 1810,
the composer appears to have been contemplating wedlock
that year — but to whom, remains in doubt — unless it was
to the Countess The"rese Brunswick. All that is said is
that the affair had been "broken off." Further reference
is made to this incident in a letter of Beethoven to
Giannastasio del Rio, who kept the school where his
nephew Carl was placed. " Some five years ago," writes
Beethoven, " I made the acquaintance of one, closer
1 Letter, August nth, 1810.

An Impetuous Suitor

relationship with whom would have been the highest
happiness of my life. . . . My love is now as strong as
ever. Such harmony I had never known before."1 In
a letter to Ferdinand Ries, dated Vienna, March 8th,
1816, occurs this passage: "My kind regards to your
wife. I, alas, have none. One alone I wished to possess,
but never shall I call her mine." The lady here referred
to was undoubtedly Mdlle. Marie L. Pachler-Koschak in
Gratz.

Goethe's Bettina — Bettina von Arnim — the imaginary
angel, who, had the Fates acted otherwise, would have
made Beethoven's earth a heaven, did not marry the
master, nor did others. In the main, authorities concur
in Beethoven's attachments being always honourable.
There can be no doubt, however, that he was an im-
petuous suitor, ready to construe an acquaintance into
a more serious bond on the slenderest ground, and with-
out the slightest regard to the consequences on either
side. The Baroness Ertmann is familiarly addressed by
her Christian name as Liebe, Werthe, Dorothea Cacilia;
he calls Countess Erdody his " confessor," and " Liebe,
Hebe, liebe, Hebe, Hebe, Grafin " ; composition after com-
position is dedicated to the Empress Maria Theresa,
Countess Babette von Keglevics, Countess von Browne,
Princess Lichtenstein, Countess Giucciardi, Countess
Lichnowsky, Countess von Clary, Countess von Erdody,
Princess von Kinsky, Countess The"rese von Brunswick,
Empress of Russia, Countess Wolf-Metternich — Madame
von Breuning, Eleonora von Breuning — can it be wondered
at that Beethoven never married ! That those ladies he
admired were able to decipher his epistles is marvellous
1 Letter, September i6th, 1816.

Beethoven

for he wrote an execrable hand. On more than one
occasion the postal authorities refused to receive his letters
until they were more distinctly addressed. Beethoven
himself often joked about his almost illegible characters,
and used to add, by way of excuse, "Life is too short
to paint letters or notes, and fairer notes would hardly
rescue me from poverty " (punning upon the words noten
and nijthen).

How he filled the role of postilion d1 amour may not be
well known. In 1811 he used to dine at the "Blue Star"
at Toplitz, and one summer's day he discovered that

„ ..,, Ludwig Lowe the actor was in love with the

Postilion , ,, b,, , , .
jy . landlords daughter, but conversation was

generally impossible because of the stern
parents and the diners. "Come at a later hour when
the customers are gone and only Beethoven is here,"
whispered the charming creature one day ; " he cannot
hear and will not be in the way." This answered for
a while when the parents forbade the actor the house.
" How great was our despair," relates Lowe, and the
thought occurred to him of beseeching the assistance
of the solitary man at the opposite table. " Despite
his serious reserve and churlishness, I believe he is
not unfriendly. I have often caught a kind smile across
his bold defiant face." Watching the master, actor Lowe
contrived to meet him face to face in the gardens. There
was a recognition and an explanation of Lowe's absence
from the dining-room. Then the actor timidly asked
Beethoven if he would take charge of a letter and give
it to the girl. " Why not ? you mean what is right,"
and pocketing the letter the musician walked on. Yet
only for a few steps. "I beg your pardon, Herr von

Tavern Haunts

Beethoven, that is not all." " So, so," said the master.
" It is the answer I want," Lowe went on to say. " Meet
me here at this time to-morrow," said Beethoven, and they
met. For some five or six weeks, indeed as long as he
remained in the town, did the master carry the love-letters
backwards and forwards for the pair.

Total abstainers can lay no claim, we are afraid, to the
composer of Fidelia being of their fraternity. Bohemian
as he was, and dependent to a great extent on taverns and
coffee-houses for his meals, even when he could afford
to keep his own servant, not a breath of suspicion has
ever been raised against him for over indulgence either in
eating or drinking. Perhaps the vision of his father was a
sufficient deterrent ! All the evidence points to his being
a careful, abstemious liver, who took only what was really
necessary for the sustenance of the body. He drank wine
admittedly ; and, what was better, rejoiced when a friend
would share a bottle or more with him. That he kept
something more potent than Bohea at his rooms is clear
also from one of his notes to Ries : — " It is really inexcus-
able in my brother," he writes, " not to have provided wine,
as it is so beneficial and necessary to me." From his
" Letters," the " Swan " in Vienna was his favourite house
in 1 8 1 o and for a year or two after. Letter after letter to
his friend Zmeskall fixes this tavern as a suitable haunt
for meeting. "You are summoned to appear to-day at
the ' Swan,' " he writes to him. " Brunswick also comes.
If you do not appear, you are henceforth excluded from
all that concerns us." From two others of these epistles
we learn the ground of his patronage and also his reason
for its withdrawal "I shall go now chiefly to the ' Swan,"

Beethoven

he writes, "as in other taverns I cannot defend myself
against intrusion."1 Later on we hear that Beethoven
dines at home because he can get better wine. "You
shall have the wine gratis," he tells Zmeskall, "and of
far better quality than what you get at the wretched
'Swan.'" When visiting Toplitz in 1812 the "Blue
Star" still enjoyed the privilege of his presence and
patronage. Later on another favourite resort was the
coffee-house " Die Goldne Birne " in the Landstrasse.
He went every evening, slipping in at the back door.
What a sight to witness — the little genius seeking to
evade the pryings and gazings of the inquisitive and
obtrusive !

The natural temperament of Beethoven has been much
discussed, and all sorts of ideas have got abroad respecting
the manner of man he was. Probably the world will
never know the real Beethoven — so difficult was it for
anyone to make a very prolonged study of his fitful dis-
position. We have his "Letters" and music, which
speak for themselves, but if we wish to know more we
have to fall back upon the " impressions " of those whose
fortune, good or bad, it was to come into personal con-
tact with him. When all this information is sifted we
are still confronted with much that is contradictory,
much which, placed side by side, positively negatives
not a little that we would fain picture of the genius.
The explanation is found probably in the fact that he
was rarely caught in two moods alike, and that impres-
sions formed of him varied according to the degree in
which his good-will and sympathy were aroused and ex-
tended. In one respect, however, there is certainly no
1 Letter, February 2nd, 1812.
78

Cast of Beethoven's living face, 1812

Personal Portrait

uncertain note. Absolute unanimity reigns as to his
being a thoroughly good, conscientious, kind-hearted man,
and this aspect of his fitful nature is the one, probably,
that most interests his countless admirers.

The late Cipriani Potter, who succeeded Crotch in
the Principalship of the Royal Academy of Music, came
into personal contact with Beethoven. He gives the
following genuine facts respecting the giant 7,

musician: — "Many persons," says he, "have

,., ., riU . T,' , , ment and

imbibed the notion that Beethoven was by ~ .

nature a morose and ill-tempered man. This
opinion is perfectly erroneous. He was irritable, pas-
sionate, and of a melancholy turn of mind — all which
affections arose from the deafness, which in his latter
days increased to an alarming extent. Opposed to these
peculiarities in his temperament, he possessed a kind heart
and most acute feelings. Any disagreeable occurrence
resulting from his betrayal of irritability, he manifested
the utmost anxiety to remove, by every possible acknow-
ledgment of his indiscretion. Another cause for mis-
taking Beethoven's disposition arose from the circum-
stance of foreigners visiting Vienna, who were ambitious
of contemplating the greatest genius in that capital, and
of hearing him perform. But when from their unmusical
questions, and heterodox remarks, he discovered that
a mere travelling curiosity, and not musical feeling, had
attracted them, he was not at all disposed to accede
to their selfish importunities ; he would interpret their
visit into an intrusion and an impertinence ; and con-
sequently, feeling highly offended, was not scrupulous
in exhibiting his displeasure in the most pointed and
abrupt manner; a reception which, as it was ill-calcu-

Beethoven

lated to leave an agreeable impression with those who
were so unlucky as to expose themselves to the rebuke
did not also fail in prompting them to represent his
deportment unfavourably to the world. When his mind
was perfectly free from his compositions, he perpetually
delighted in the society of one or two intimates. It
sensibly comforted him, and at once dispelled the cloud
of melancholy that hung over his spirit. His conversa-
tion then became highly animated, and he was ex-
tremely loquacious. The favourite medium by which he
expressed his ideas was the Italian ; his pronunciation
of that language being better than either his French or
German."1

No episode in Beethoven's remarkable career presents
us with such a picture of his kindness of heart, the real,
inward, natural being — the man at the core — as that
afforded by his passionate, loving concern for the well-
being of the only person, bound by blood ties, who ever
became dependent upon him — his nephew Carl. Surely
no parent ever possessed, or exercised, a more solicitous
concern for an only son, and it must, indeed, have caused
many a grievous pang to the great-hearted man to behold
this unworthy prodigal descending to depths of degrada-
tion from which it had been this uncle's object, for years,
to raise him far above. Pathetic to a degree, as those
who read them will allow, are the words of advice, appeal,
and admonition — all so good and disinterested, — which
Beethoven addresses to his nephew ; and, when it is
remembered that the periods of penning them were
moments snatched from work which was to be immortal,
it is sincerely to be regretted that the precious seed did
1 Musical World, April 29th, 1836.
80

Loving Admonition

not fall on less stony ground. Follow the composer : —
"Continue to love me, my dear boy," pleads .„. .
the poor man in his yearning for affection;

" if ever I cause you pain it is not from a {T . ,

. , . ic IVefihew

wish to grieve you, but for your eventual

benefit. ... I embrace you cordially. All I wish is
that you should be loving, industrious, and upright.
Write to me, my dear son." — "Study assiduously and
rise early, as various things may occur to you in the
morning which you could do for me. It cannot be
otherwise than becoming in a youth, now in his nine-
teenth year, to combine his duties towards his bene-
factor and foster-father with those of his education and
progress. I fulfilled my obligations towards my own
parents." — "I have been assured though as yet it is
only a matter of conjecture, that a clandestine intercourse
has been renewed between your mother and yourself.
Am I doomed again to experience such detestable in-
gratitude ? No ! if the tie is to be severed, so be it.
By such conduct you will incur the hatred of all impartial
persons. ... If you find the pactum oppressive, then,
in God's name, I resign you to His holy keeping. I
have done my part, and on this score I do not dread
appearing before the Highest of all Judges. Do not
be afraid to come to me to-morrow, for as yet I only
suspect; God grant my suspicions may not prove true,
for to you it would be an incalculable misfortune, with
whatever levity my rascally brother, and perhaps your
mother also, may treat the matter." — "If it is too hard
a task for you to visit me, give it up ; but if you can by
any possibility do so, I shall rejoice in my desert home to
have a feeling heart near me." — "Be good and honest.

F 81

Beethoven

... Be my own dear, precious son, and imitate my
virtues but not my faults ; still, though man is frail, do
not, at least, have worse defects than those of your sin-
cere and fondly attached father." — " Only observe modera-
tion. Fortune crowns my efforts, but do not lay the
foundation of misery by mistaken notions; be truthful
and exact in the account of your expenses, and give
up the theatre for the present. Follow the advice 01
your guide and father; be counselled by him whose
exertions and aspirations have always been directed to
your moral welfare, though without neglecting your tem-
poral benefit." — "Spend your money on good objects
alone. Be my dear son. What a frightful discord
would it be, were you to prove false to me, as many
persons maintain that you already are. May God
bless you." What confessions ! Can we longer be
surprised at the nobility of Beethoven's music after
such utterances?

If more proof were wanting of Beethoven's warmth of
heart we can instance his behaviour towards his pupil
Ferdinand Ries, who became his chief and favourite
disciple. In 1787 the illness and funeral expenses of
Beethoven's mother had greatly impoverished his ex-
chequer, and but for the generosity of Franz Ries the
violinist, the Beethovens would have been sore pushed
for necessaries. Years and years afterwards a son of
Ries, poor, and needing lessons, waited upon Beethoven
with a letter of introduction. "Tell your father that I
have not forgotten the death of my mother," was the
characteristic assurance returned. From that day Beet-
hoven interested himself much in the lad. He gave him
free pianoforte lessons ; induced Albrechtsberger to take

Moscheles' Visit

him as a pupil in composition ; secured him an appoint-
ment as pianist to Count Browne, besides giving him
money unasked.

In connection with these piano lessons there exists a
good story. One day Beethoven confided the manuscript
of the C minor Concerto to Ferdinand Ries that he might
practise it for his first appearance in public ^, ,

as Beethoven's pupil. It occurred to Ries to ~, .

solicit from the master a cadenza for the first
movement. Beethoven declined, and told him that he
might write one for himself — whereupon Ries shortly pro-
duced one, of which Beethoven approved, save one difficult
passage, the correct execution of which appeared doubtful.
It was decided that another should be substituted; but,
once before the public, Ries could not resist a sudden
impulse to play the forbidden passage. Beethoven, who
had been kindly turning over the leaves for the young
debutant, was taken aghast, and watched with feverish
excitement for the end ! " Bravo ! " he cried as the
pianist's hands left the keys, and a burst of applause
followed from the audience. "Yes- — but you were dis-
obedient and obstinate," said Beethoven. " If you had
missed one note of that passage I would never have given
you another lesson."

The occasion of Moscheles' first visit to Beethoven
furnishes a further instance of the great composer's
thorough goodness of heart. "Arrived at the door of
the house," writes Moscheles, "I had some misgivings,
knowing Beethoven's strong aversion to strangers. I
therefore told my brother to wait below. After greeting
Beethoven, I said, ' Will you permit me to introduce my
brother to you. He is below.' ' What ! downstairs ! '

Beethoven

and Beethoven immediately rushed off, seized hold of
my brother, saying, ' Am I such a savage that you are
afraid to come near me ? ' He dragged him upstairs and
showed great kindness to us."

It seems, too, that it was no more than a strange reserve
which led up to another incident that has been much
discussed — namely the fact of Beethoven and Schubert
being in Vienna for years without becoming acquainted
with each other. The composer of the Erl King was
a born Viennese — Beethoven was not, although, as Sir
George Grove puts it he was " as much a part of Vienna
as St Stephen's Tower." 1 Both were accustomed to dine
at the same restaurant, but never spoke-^— probably be-
cause the younger musician and worshipper was afraid to
approach the other. In 1822, however, they came into
contact in a characteristic fashion. Schubert had com-
posed his "Variations on a French Air," op. 10, and
desired to dedicate them to him alone whom he "admired
and worshipped." An interview was arranged and Schubert
accompanied by the publisher Diabelli (for he was too
nervous to go alone) called on Beethoven. He was at
home, and received young Schubert with the abundant
cordiality which he was able to extend when it pleased
R . him to do so. As Beethoven was too

deaf to hear, the accustomed carpenter's
Schubert ., , ,' f

pencil and sheet of paper were thrust into

Schubert's hands that he might write what he had to

say. This so unnerved the young man that he could

not write a word; but the "Variations" were produced,

with their dedication. Of course Beethoven examined

them, and ere long came across a passage which made

1 " Dictionary of Music and Musicians," vol. iii. p. 336.

Craft Praise

him frown. Schubert instantly caught the expression of
the face, and fearful of what he expected was coming,
suddenly lost all control, rushed from the room and
was in the street in a trice. But Beethoven kept the
"Variations" and often played them. To Schubert's
credit let it be said that to his dying hour he preserved
a complete affection for Beethoven. The king of song
always implored to be buried by his side, and as he
lay on his death-bed talked only of Beethoven in his
wanderings.

Add to these another striking trait in his disposition,
his capacity for seeing talent and worth in others, especi-
ally in other musicians, and we get more of the real
Beethoven. No great composer ever had such enthusi-
astic praise to bestow upon the members of his own
craft. The narrow-minded spirit, with its train of petty
spites and jealousies, which mars many a meaner musician
even to-day, was wholly absent in Beethoven's broad,
honest mind. Handel was his ideal. " Handel is the
unequalled master of all masters ! Go, turn to him,
and learn, with few means, how to produce such
effects ! " " He," once exclaimed Beethoven, " was the
greatest composer that ever lived. I would go bare-
headed and kneel before his tomb." As he lay on
his death-bed Beethoven was of the same opinion still.
"There, there is the truth," said the dying man,
pointing to the folios of Handel's works which a
generous friend, little dreaming that the end was so
near, had sent him wherewith to wile away the long
hours in the sick-room.

" Cherubini," he once said, " is, in my opinion, of all
the living composers, the most admirable. Moreover, as

Beethoven

regards his conception of the requiem, my ideas are in

~ . . perfect accordance with his. and some time
Opinions .c T ,

•^ ^ „ or other, if I can but once set about it, I
on Fellow- .. , ,, ,. . , c ,'.

, , . . mean to profit by the hints to be found in

Musicians ., , ,,

that work."

"Mozart's Zauberftote" said Beethoven on another
occasion, "will ever remain his greatest work; for in
this he first showed himself the true German composer.
In Don Giovanni he still retained the complete Italian
cut and style, and moreover the sacred art should never
suffer itself to be degraded to the foolery of so scandalous
a subject."

His just criticism of Weber reads a trifle harsh ; but
Beethoven was nothing without his honest convictions.
" C. M. Weber began to learn too late ; the art had not
time to develop itself, and his only and very perceptible
effort was, to attain the reputation of geniality." His
early tussle with the "Father of Symphony" had long
been forgotten. A short time before his death a drawing
of Haydn's birthplace had been given to Beethoven ; he
had hung it up near his bed, and said, as he showed it to
us, "This attention shown to me has made me as happy
as a child. See, it is there that the great man first saw
the light."

Even on his death-bed this rare man had a thought
for others more than for himself. He was speaking to
Hummel about Schindler. "He is a good fellow," he
said, "who sympathises most deeply with me. He is
getting up a concert, towards which I have promised my
help ; I should be glad if you could appear instead of me,
one ought always to hold out a helping hand to needy
artists." Of course Hummel consented.

A Man Apart

Beethoven — while his whole soul and body were in
his art — does not appear to have gone out of his way
to concern himself greatly about its professors. He
neither strove to win their admiration nor excite their
envy; indeed, as far as possible, he kept away from
his fellow-musicians, holding aloof and preventing any-
thing like a condition of professional camaraderie.
Whether they approved of him or his music concerned
him but little, and one cannot help feeling that through-
out he was imbued with the conviction that he was
writing for a public then unborn, and that whatever
fate attended his compositions during his lifetime they
were possessed of properties which would assure their
acceptance and safety with an age and generation long
after he had passed away.1 He could, as we have seen,
appreciate and acknowledge as fully as anyone all that
was musically good around and about him whether the
workers were known or unknown to him „ ,

personally, but on the whole he preferred

,- • , , f , . and the

to pursue his independent way and leave his „ ,.

professional brethren to take care of them-
selves.

A few instances will suffice to illustrate Beethoven's
relationship with musicians with whom he came into
contact in professional practice. Haydn, in return for
an abrupt bearing towards him, styled him "The Great

1 Even when the Rossini fever was at its height, and he, with other
of the musicians then in Vienna, had to bear up against the new
fashion, he did not complain, alter his course, or frame his music
to suit any passing fancy, however profitable this might have proved
to him. Beethoven did, however, let the expression pass that
" Rossini is a good scene-painter and nothing more,"

Beethoven

Mogul." Hummel, Woelfl, Steibelt, Lipawsky and
Gelinek, were openly opposed to him, not hesitating to
jeer at him about his personal appearance. Steibelt
and Gelinek at least had pitted their pianoforte powers
against his, and although Beethoven had decidedly
proved his superiority, the antagonism did not cease.
They taunted and irritated Beethoven in every possible
manner, and at times matters would reach such a pitch
that fists were resorted to. There was not a particle
of jealousy on the part of Beethoven, but such a nature
as his required little irritation, still less downright insult
to raise his ire to an awful pitch. Thayer1 quotes
Kozeluch's authority as to his opponents having trampled
on his music — an act which would not be readily for-
gotten by its composer, who was exceedingly sensitive
on the point of sacredness of art. Whether it was or
was not strange and heretical music to his opponents —
although it is difficult to conceive why it should appeal
so strongly to contemporary connoisseurs and not to
professional musicians — such treatment was surely most
unjustifiable, nor can Beethoven be blamed for the
unseemly manner in which he resented the behaviour.
Professional jealousy, however, is no new thing and
there is as much of it among small minds of this
particular profession to-day as there was in Beethoven's
time. Czerny and Ries both commended themselves to
Beethoven, who also esteemed the able theorists Eybler,
Gyrowetz, Salieri and Weigl.

If Beethoven was indifferent to his musical contem-
poraries, however, he knew how to gather about him
helpful men and women outside the art. Never before
1 Vol. ii. p. 108.
88

His Indifference

or since has a composer shown such a list of dedications
— all the more remarkable inasmuch as they were the
outcome, if not of affection, of general musical esteem
and regard on both sides. No money payment would
buy Beethoven in this or any other direction.1 Of
course, this remark does not extend to the salary which
his three noble patrons guaranteed him. In placing
themselves under the high protection of aristocratic
patrons, musicians were aware that the greatest diligence
was expected of them, and that their best energies were
to be directed to the fostering and betterment of the
music of the Court wherever they might be in service.
This, in the nature of things, led to dedications of new
works, etc. ; but the chief obligation as a rule, and
essentially as Beethoven viewed it, was the providing
of new music for the benefit of the circle interesting
itself in his welfare.

Not an iota of jealousy ever worried Beethoven's
artistic career ; he was of too noble a mould for that.
He went along quite conscious of his own staying powers,
and if others prospered while he suffered, he did not
complain. Rather, he became more indifferent than
usual, and allowed things to develop as they would.
This was a weak point of Beethoven's character. He
would not, or could not raise himself to make the best,
the most commercial use of all that was so possible,

1 There is a marked contrast between Beethoven and Schubert
in the matter of their dedications. Beethoven was king among his
aristocratic friends whom, despite their patience and devotion, he
often treated scornfully. His dedications are to crowned heads
and the nobility. Schubert, on the other hand, rarely got farther
than humble folk with his inscriptions.

Beethoven

but buried himself behind some little matter — frequently
a domestic trifle or something relating to his nephew
Carl — which quite shut him out for a while from prose-
cuting the vast professional possibilities which a more
energetic, business-like musician would have readily dis-
covered were within his easy reach. If not this, he
resorted to composition — the writing of great works of
which only he was capable — with little further motive in
their completion than the pleasure they might afford to
his patron at whose palace they were to be performed.
The fact is he was no business man who, while he did
not omit to upbraid his domestics for recklessness or
dishonesty in the case of a few thalers of the household
money, ,took no steps to trouble himself about pub-
lishers, or, if he did, to strike and demand anything like
business bargains for his wares. Bad as the times were
through Napoleon's ambition and the unsettled state of
European affairs — especially matters relating to art —
arising out of the Thirty Years' War, Beethoven might
have done immensely better than he did in placing his
works upon the market. But the commanding of money
— further than a mere living wage — by his compositions
seems scarcely ever to have seriously entered his head —
at any rate not until the close of his career — when he
does appear to have made an effort to bargain with
Societies and publishers.

That he was not a man to be played with, however, is
amply demonstrated by many of his words and acts.
That he would not be " done," as it is called, too, is
seen in the active steps he took in suing Maelzel for
appropriating his " Battle " music, and apprising the
London publishers of the fraud which the inventor

Business Inaptitude

of the metronome and mechanical trumpeter was
perpetrating.

When he was the young virtuoso unrecognised by the
publishers, his songs and smaller pieces went ///?//

almost for nothing, and his larger works, it , ,

. , , ., e A L Man of

might be said, for a mere song. As he grew ~ . J

older and was recognised he secured a little
better price for his compositions, but it was never much, a
few pounds being all he received for the largest work that
ever lay on his desk. For this Beethoven was largely to
blame. He was always " hard up." A more difficult person
to transact business with it would be hard to imagine. His
reserved and suspicious manners, his indecision, alway stood
in his way, just as it did when his cherished hope of many
years — the publication of a collected edition of his works
edited by himself — was well-nigh being attained. No
incident in his life illustrates more forcibly than does this
Beethoven's utter want of resolution in practical matters.
In the year 1816 a proposal was made him by Hoffmeister
of Leipzig to bring out an edition of all his compositions
for the pianoforte, but nothing resulted from it. So it
was with Steiner's proposal. In 1822 the matter was
again in the master's mind. " I have at heart," he wrote
to Peters of Leipzig, " the publication of my collected
works, as I should like to superintend it while I am alive.
Many proposals, I acknowledge, have been submitted to
me, but there were difficulties in the way which I
could not remove, and terms which I neither could
nor would fulfil." Then came Artaria's project, but
still no result. Andreas Streicher, an old and real friend
to Beethoven, next wrote him in the following strain :
" I have often thought on your position, and especially of

Beethoven

how you might derive more benefit from your marvellous
talent ; and now, actuated by a good honest feeling
towards you, beg leave to submit to you the following for
your careful consideration, viz.: the publishing of an
edition of all your works similar to those of Mozart,
Haydn and dementi, a proposal which, if properly-
carried out, might bring in at least 10,000 florins current
coin or 25,000 Viennese. It would be announced half a
year in advance throughout Europe, and mention made in
the advertisements that you intend to alter here and there
and arrange for extended pianoforte passages written before
their introduction. Secondly, that you intend to add
some unpublished works, which may be an inducement,
even to those who may have your earlier works, to
purchase this edition. The labour it will occasion you
is certainly not sufficient to justify you in disregarding a
duty which you owe both to yourself, your nephew, and
posterity. Accept what I have said as the sentiments
of a friend of six and thirty years' standing, whose
greatest happiness would be to see you free from
trouble and anxiety." Even this friendly advice came
to nothing, neither did after-negotiations with Schles-
inger and Schott. Death carried the great tone-poet
off, and his works were left for musicians, students and
amateurs, to interpret as they will — faithfully or capriciously.

The intellectual and purely educational literary aspects
of the musical character, whether it be that of a great or
small musician, has been productive of concern as long as
music-makers and their methods have been thought worthy
of discussion. For reasons which may or may not be ex-
plainable, this perceptive scrutiny has not profited the

Intellectuality

harmonist, but has discounted him in the eyes of his
fellow-creatures. This has extended even to the great
masters, though that it is a situation that could be main-
tained is obviously open to dispute. The keynote given
forth is that music is " an emotional stimulant of intoxi-
cating strength, but with little capacity for transmutation
into any other form of artistic energy, and with an influence
upon conduct mainly negative and depressive, tending to
relax rather than to brace the springs of self-control." l In

a few words the imputation is that although , , „ .

. . , Intelkctu-

the great musicians can make good music, .. .

their "intellectuality" ends there, and they ,.- ..

, c »f . i u- L • ul Musicians

are good for nothing else ; — to which we might

as reasonably reply to those people who seem to have no
semblance of an idea of what theory in music is, or how a
symphony is built up, " Can the great intellects who give us
books and pictures and sculptures, furnish us also with a few
'Choral' or 'Jupiter' Symphonies?" We need go nofarther.
The great musicians have expressed the grandest senti-
ments, not only through their music, but in the language
of their mother tongue ; and among those who have thus
spoken, none stands out in bolder relief than Beethoven.
It is not too much to assert that for a man whose whole
life was centred in music, who scarcely finished one work
ere another was begun, who was often at work on three
or four compositions at the same time — which are facts
the composer himself communicated to Wegeler2 — for
such a one, his grasp of things outside his art is as re-
markable as it is convincing. A perusal of his " Letters "
will show the master to possess the best qualities of a

i Blackwood 's Magazine^ July 1896, p. 29.
8 Letter, June 29, 1800.

Beethoven

correspondent, with a thorough knowledge of his country's,
and not a little English, literature ; a great grip of men
and manners, together with a fund of fun, fancy and bold
expression, which belong not to the ignoramus, nor to the
superficial mind. No one with any real knowledge of the
world can read Beethoven's "Letters," whether in the
original, or through good or bad translations, without
feeling that their author was gifted with no ordinary
intellect, with a great capacity for seeing more than was
suspected of him, or that most of us can see, and the
ability to respond to whatever tune was bidden by
familiar or foe.

The actual schooling which this great master of music
received when a child was, indeed, as slender as it was
irregular ; but it is simply surprising what good use he
made in after years of the Latin, French and Italian
groundwork which Zambona was kind enough to add to
the neglected education. The man who could express
himself, not always perhaps in a polished way, but dis-
tinctly and emphatically, in two or three languages out-
side his native tongue, is hardly such an ignoramus as we
are told our great musicians were. Above all, however,
Beethoven was one who could take a broad view of the
world ; and though he was not wrangler or mathema-
tician enough to control his private expenditures, or
to grapple with kaleidoscopic aspects of his servants'
accounts, he cultivated a mind that was superior to the
vulgar passion of self-interest and mere money-massing.
A man who could delight in Homer and Plato, Shake-
speare and Goethe, could not have had a particularly
narrow or unintellectual mind ; while not a tithe of his
sayings about his art and things in general would qualify

Maxims

him as a musical monster or melody-making dunce. Hear
the man anent his art : —

"Music is the link between spiritual and sensual life."

" Music is a more lofty revelation than all wisdom and
philosophy."

" Art ! who can say that he fathoms it ? Who is there
capable of discussing the nature of this great goddess ? "

" True art endures for ever, and the true artist delights
in the works of great minds."

" Art is a bond that unites all the world ; how much
closer is not this bond between true artists."

" It is art and science alone that reveal to us and give
us the hope of a loftier life."

" Art and science bind together the best and noblest of
men."

"To describe a scene is the province of the painter.
The poet too has the same advantage over me ; for
his range is less limited than mine. On the other hand
my sphere extends to regions which to them are not
easily accessible ! "

" Liberty and progress are great conditions in the em-
pire of music, as in the universe."

" Melody is the sensuous part of poetry. Is it not

melody that converts the Spiritual part of a D ,,

. . i r i- ti » Beethoven

poem into actual feeling ? ,, .

,, ™, ,. . f .., Maxims

Thorough bass and religious faith are

subjects so confined within their own limits that they
admit of no discussion."

" Metronome, indeed ! He who is imbued with the
right spirit requires no such guide ; and he who is not so
imbued does not benefit by it, for he runs away from his
orchestra in spite of the metronome."

Beethoven

" The conventional marks of time are nothing but a
barbaric relic : for what could be more absurd than the
term " allegro " which means gay and lively, as applied to
a composition whose character is often the exact opposite
of allegro. With regard to the four principal movements,
viz., allegro, andante, adagio, and presto, which moreover
are not nearly as true and accurate as the four winds
of heaven, we willingly discard them. Not so the terms
which indicate the character of a composition — these we
cannot dispense with ; for as the time is the body, so is
the character the spirit of a composition."

The " Letters " of the great musician abound in reflec-
tions of this kind, and those who would speak with the
mighty genius should read these epistles — the main feature
of which lies in their being so thoroughly characteristic of
the master. They do not elevate and soothe to an extent as
does his harmony, nor until a new age and taste for better
reading sets in can they become as well known as his
music ; nevertheless they abound in themes that inspire.
Surveyed broadly they show us the man himself better
than any word or painted portrait. Rough diamonds —
lacking in literary polish, they reflect the rugged, fitful, yet
large-hearted nature of the sublime master. The ortho-
graphy and syntax are repeatedly faulty, and the mode of
expression is generally more emphatic than elegant — but
with all this the convincing feeling is that a great intellect
_,, was behind the pen that wrote them. They are

" T tf " commumcati°ns °f an order which only really
great men ever do, or can, have the courage
to pen and disseminate.

Another of their striking features is the marked absence
of any pettifogging rulings and didactic teachings about

Politics and Amusements

music — an art respecting which he was entitled to
speak. No. They go right into the world and touch
men and matters as he found them, and while they
frequently exhibit a rich play of fun and fancy, there
is no mistaking the point which their author desired
to convey.

Of course the collected editions of the Beethoven
"Letters" far from represent a tithe of his correspondence.
Much, naturally, is destroyed and lost, but it is felt and
known that a large number of notes still exist in various
directions. It is devoutly to be hoped that some day
every collector will generously open his chests so that a
thoroughly complete edition of these literary valuables may
become the property of the world. As it is, the intellec-
tual quality of the outcome of Beethoven's readiness with
the pen is a convincing negative to the proposition that
the great musicians are nothing more than crotchet and
quaver hangers, and that they lack " intellectuality " !

In Beethoven's case the world knows, and can learn but
little concerning two features of interest in the careers of
every man — namely, his Politics and Amusements. As to
the former, viewed by the light of to-day, this can to some
extent be accounted for from the fact that eight or ten
decades back the trail of party opinion was not drawn
along the street in the nauseous, persistent, and reckless
manner which now obtains. There was less journalistic
enterprise and cupidity, consequently the Fourth Estate
did infinitely less harm in distorting and warping the voice
of public opinion than can unfortunately be charged to it
to-day. All the same, had matters in this respect been
otherwise, Beethoven would have remained unaffected,
O 97

Beethoven

By nature he was a born Republican — averse to every-
„ , , thing that tended to make one man in any
p j. . way more than another; although of course

such a method became perfectly impracticable
at every step in real life. Still this was his nature, and he
persisted in it to the last. There was a good deal of the
philosopher in Beethoven ; and although the conditions of
society around and about him were the only ones that
could have been at all beneficial to one situated as he was,
yet he was ever lingering after some such ideal state
as Plato foreshadowed in his " Republic." This, if ever
feasible, was quite impossible in the unsettled state of
Europe at the time, and with the world's then central
figure bent on dominating as many monarchies as did his
prototype Alexander. Nevertheless, consumed by his own
experiences ; alive to conditions which kept him a per-
petual slave while others enjoyed the good things of
this life ; disappointed with everything and almost every-
body, he nurtured his thoroughly genuine, natural con-
victions and sympathies towards a system and epoch
which would terminate in a rule whereby Might would
be crushed by Right. The advent of Napoleon Buona-
parte rejoiced his heart, and he determined to hail this
political saviour.

Perhaps the finest piece of musical portraiture that exists
is Beethoven's longest symphony (save the " Choral " )
of the immortal nine. Every music lover recognises
it under the title of the "Eroica." "The Eroica,"
says a great writer, " is an attempt to draw a musical
portrait of an historical character — a great statesman,
a great general, a noble individual; to represent in
music — Beethoven's own language — what M. Thiers has

Buonaparte

given in words and Paul Delaroche in painting." It
is anything but difficult to realise why Beethoven should
have admired the first Napoleon. Both the soldier and

musician were made of that sturdy stuff which ~ . .

,, j j.j j f .1 ,, , .... • . Dismisses

could, and did defy the world ; and it is not ,, ,

strange that Beethoven should have desired in
some way — and he knew of no better course than through
his art — to honour one so characteristically akin to
himself, and who at that time was the most prominent
man in Europe. Beethoven began the work in 1802, and
in 1804 it was completed, with the following title : —

SlNFONIA GRANDE

NAPOLEON BONAPARTE"
1804 IN AUGUST

DEL SlGR.

Louis VAN BEETHOVEN

SlNFONIA 3

OP. 55-

This was copied, and the original score dispatched to
the ambassador for presentation, while Beethoven retained
the copy. Ere the composition could be laid before
Napoleon, however, the great general had assumed the
title of Emperor. No sooner did Beethoven hear of this

Beethoven

from his pupil Ries than he started up in a rage, and
exclaimed : " After all, then, he's nothing but an ordinary
mortal ! Here is a tyrant the more ! He will trample
the rights of men under his feet ! " Saying which he
rushed to his table, seized the copy of the score, and tore
the title-page completely off. From this time Beethoven
abhorred Napoleon, and never again spoke of him in
connection with the symphony until he heard of his
death in St Helena, when he observed, " I have already
composed music for this calamity," evidently referring to
the Funeral March in the symphony.

But Beethoven's republican leanings do not end here.
He had no sympathy whatever with the pomp and glitter
of a monarchical state or the trappings of an exalted aris-
tocracy. Decorations and orders possessed nothing beyond
their convertible value in his eyes, and the shells of the
sea-shore would have found as much favour with him for
his breast as the grandest cross or star ever designed.
On one occasion the Prussian Ambassador at Vienna gave
him the choice of fifty ducats or the cross of some order.
Beethoven was not long in deciding. " The fifty ducats,"
replied the composer. The true spirit oozes out, too, in
his letter to Bettina von Arnim : " My most dear, kind
Friend, — Kings and princes can indeed create professors
and privy-councillors, and confer titles and decorations,
but they cannot make great men — spirits that soar above
the base turmoil of this world. There their powers fail,
and this it is that forces them to respect us. When two
persons like Goethe and myself meet, these grandees
cannot fail to perceive what such as we consider great.
Yesterday, on our way home, we met the whole Imperial
family ; we saw them crossing some way off, when Goethe

zoo

Resents Etiquette

withdrew his arm from mine, in order to stand aside, and
say what I would, I could not prevail on him to make
another step in advance. I pressed down my hat more
firmly on my head, buttoned up my great-coat, and, cross-
ing my hands behind me,1 I made my way through the
thickest portion of the crowd. Princes and courtiers
formed a lane for me; Archduke Rudolph „

took off his hat, and the Empress bowed to ,-, ,

me first. These great ones of the earth know
me. To my infinite amusement I saw the procession
defile past Goethe, who stood aside with his hat off,
bowing profoundly. I afterwards took him sharply to
task for this; I gave him no quarter."2

Dependent as he was upon the aristocracy of his day
for almost every inch of recognition that fell to him ; for-
bearing and generous as the nobility invariably were to-
wards him whenever and however his rough methods
asserted themselves, it is, indeed, surprising that Beet-
hoven for so long should have successfully maintained
and exercised his supreme contempt for the upper classes.
Yet he could not get over this ruck in his nature. That
he was their equal was a burning conviction within him,
albeit he would never permit himself to be encumbered by
the doings of inferior folks for whom, it might be thought,
he would in turn make allowances. No. He could brook
no restraints nor barriers : he must do as he willed. Thus
he was constantly at loggerheads with the Court officials,
and would not bend to the prescribed etiquette. One day
he forced his way into the apartments of the Archduke,
his patron, and in great rage declared he could not submit

1 Vide the Lyser sketch.

" Letter, Toplitz, August 15, 1812.

101

Beethoven

to the biddings of the chamberlains. It was taken in good
part, and orders were forthwith issued that he was not to
be interfered with.

Of Beethoven's amusements we hear nothing. As his
correspondence emphasizes his whole life and soul were
in his music. Mozart could rest his brain with billiards
but Beethoven appears to have had no liking for the
lighter relaxations of life. If he wanted change he re-
sorted to the lanes and meadows and found in Nature a
sufficient set-off for extended periods of strain and mental
trial that must have sorely tested his highly-strung, and
often greatly neglected, nervous system.

The on dits referring to Beethoven,— and they are
almost as numerous as the quavers in a symphony, — are
as true, we suppose, as on dits in general. Among these
ben trovato stories are several relating to the master's habit
of abstraction, especially when he was occupied with any
great score, when he became so absorbed that his be-
loved pursuit was, so to speak, absolute meat and drink to
him. At about the time of the composition of the
splendid descriptive symphony — the Sixth or " Pastoral "

TT i-j. f as Beethoven termed it, its composer went
Habits of . ,7.

., . ;. into one of the Vienna restaurants and
Abstraction , ,. ... , ., iU

ordered dinner. After a while the waiter

came with the dinner, but meanwhile the composer
had become engrossed over " notes " for his sketch-
book. " I have dined," shouted Beethoven, and ere
the astonished kellner could say a word the musician
placed upon the table the price of the dinner and
disappeared.

Another story is told of Beethoven and a horse which,
were it not for our knowledge of his utter carelessness in

IO2

Presentments

the affairs of everyday life, it would be hard to believe.
A very beautiful animal was presented to Beethoven by
an admirer, and at first the new owner did what most
mortals would, he mounted the steed and took an airing
round Vienna's suburbs. Then it was quite neglected by
Beethoven ; and his servant, a sharp-witted man, noticing
this, took the horse, paid its forage bills, and as a means
of money-making used to let out the animal at a rate per
hour to anyone who cared to hire it, pocketing, of course,
the proceeds !

The presentments of Beethoven provide an interesting
feature among the chronicles of this master of music.
Though we are not dependent entirely upon these for a
knowledge of the manner of man the composer was, there
having been amongst us, happily, those who conversed
with him face to face, — yet in the nature of things it
cannot be else than gratifying in the extreme to be in
possession of several more or less authentic records of the
features of one who will continue to be a subject of
wonder and admiration as long as the world and our
present methods and intelligence last.

To take these in order of age, the miniature by Gerhard
von Kiigelgen,1 showing Beethoven in his twenty-first year,
reflects a decidedly good-looking well-formed face, adorned

with a harvest of jet-black hair. The whole

• j- .• r ,.i_ r i. Portraits

visage is a strong indication of the future

man ; and the mouth, which the burden of a battle with

life was to make so firm and determined, is particularly

noticeable for its beauty of conformation. A good deal

of dispute surrounds this portrait. Generally accepted at

1 In the possession of Mr. G. Henschel.

103

Beethoven

one time as genuine, its authenticity is now doubted by
both the Beethoven House Society of Bonn and the
authority Dr T. Frimmel, so when doctors differ who shall
decide ? Hornemann's miniature, showing the composer
as he appeared in 1802, is one of the finest likenesses of
Beethoven. Another is the drawing of head and shoulders
which Louis Letronne made in chalk in 1812 and which
has been engraved by Hofel (1814) and Riedel. This
was the portrait copies of which the composer often gave
away. It shows the master in the second phase of his
artistic career, and according to Sir George Grove it is
the best portrait extant of Beethoven. A copy of it is in
the Library of the Royal College of Music at Kensington.
Another three-quarter sitting portrait, with right hand ex-
tended, depicts Beethoven in his thirty-eighth year. It
was painted by W. F. Mahler in 1808, and is adjudged a
fanciful rather than true likeness of the composer. This
portrait shows the wonted luxuriance of hair, fine large
eyes, a scarcely accurate nose, and the beautifully set
lips which make the composer appear a really handsome
fellow as a young man.

The oil painting by J. Mahler of Vienna, compara-
tively recently discovered at Freiburg,1 is among the best
representations of the master. It was painted in 1815,
when Beethoven was forty-five years of age and in the
prime, therefore, of his active life. This portrait differs
in expression from the other accepted portraits, to say
nothing of the ideal presentments, and while the main
features are there — the strong head, the massive temples
from which his liberal hair rolled backwards, the breadth
of face, the grandly outlined features — we get these and
1 Now in the possession of Herr Victor von Gleichenstein.
104

Portraits

something more in the shape of strong indications of the
composer's known Dutch origin.

There is yet another portrait by Mahler which shows
Beethoven well on in life, and which serves as a frontispiece
to Lady Wallace's translation of Beethoven's " Letters."
Writing of it the distinguished authoress says in her
preface : " The grand and thoughtful countenance forms
a fitting introduction to letters so truly depicting the
brilliant, fitful genius of the sublime master, as well as
the touching sadness and gloom pervading his life, which
his devotion to Art alone brightened through many bitter
trials and harassing cares." All this the portrait fully
endorses. The frontispiece referred to is an engraving
by H. Adlard from a photograph of the original portrait
in the possession of Dr Th. G. von Karajan, Vice-Presi-
dent of the Imperial Academy of Science, Vienna. Lyser's
full-length sketch showing Beethoven on the march, and
in a hurry, is referred to elsewhere. A chalk drawing —
the work of Augustus von Kloeber — in the opinion of
the present writer deserves to be ranked among the most
satisfying portraits of the master. As has been pointed
out : " It is evidently a good likeness. The ' lion's
mane,' the noble brow, expressive eyes, strong obstinate
nose and furrowed chin, are their own evidence to accu-
racy."1 Certainly no one who has ever read or played
a line of Beethoven could desire a more satisfying present-
ment of the wondrous sound-shaper for all ages and all
time.

Another likeness of the master is the idealized but
handsome portrait with the tree background. Beethoven,
in his dressing-gown, is shown with bent head in the act
1 Musical Times, December 1892.

Beethoven

of writing on a roll of score paper. This is endorsed
" Missa Solennis in D," his favourite score. It was
painted by Stieler, and shows Beethoven in 1822, the year
when the famous second Mass was completed. No better
presentment of the master could be desired. Of all the
portraits this, and the chalk drawing by Kloeber, would
probably best meet the popular conception of the sort of
man the composer of Fidelia and "Choral" symphony
really was. This portrait, with two others, is given by
Naumann in his " History of Music." One of these
latter is a portrait in the possession of Count Wimpffen,
and has been engraved by Carl Mayer of Nuremberg ; the
other shows the composer with a thin drawn face and well
advanced in years. Curiously enough both these and
others of the likenesses show Beethoven with a collar,
distinct from his stock or neckcloth. Now he wilfully
eschewed this article of apparel ; " he was not acquainted
with the custom of wearing collars," writes Miiller of him
in 1820, " and he asked a friend, who had made him some
linen shirts, what the use of the collar was ! ' Ah ! to
keep me warm,' he said to himself, and stuffed it under
his waistcoat : " it can only be surmised, then, that to
this extent some of the portraits are unauthentic or that
the painters of them had secured the composer when he
was in one of his tidiest and conformable moods. Another
characteristic portrait of the master has been made by
Robert Krausse after the original of Waldmiiller and the
cast of Beethoven's face. Of this an illustration is given
herewith. Numerous other portraits, more or less reliable,
exist.

Lastly, Schimon painted the master in 1819, showing
Beethoven in his forty-ninth year — a work which Eichens

106

Stumpff Picture

engraved. It is a sadly weak production so far as the
features are concerned. The nobility of character is
wholly lacking ; instead of the powerfully severe counten-
ance, full of intelligence and purpose, and with all the
traces of strong trial, suffering, and disappointment which
at this time of life helped to make Beethoven look " ugly,"
the portrait in question has hardly a furrow indicated.
It resembles more a contented farmer than the powerful,
rugged son of art and enormous worker whose mood was
to "despise the world which does not understand that
music is a more sublime revelation than all wisdom and
all philosophy." This is the portrait probably that is
referred to in the characteristic letter which Beethoven's
friend Stumpff wrote to the Musical World.
Here is a transcript : —

SIR, — Having seen in your spirited publication a notice
of my lithographic print of Beethoven, I beg leave to state
that it was issued out of love to the art, and in order to
fulfil a promise I made to Beethoven.

It was on last parting from this extraordinary being,
who seemed on that occasion very much agitated, venting
his feelings in strong expressions of sorrow at my early
departure (as he called it), that he put a lithographic print
of himself in my hand, and seizing the other with a con-
vulsive grasp, exclaimed, " Take this print, though a very
bad one, as a token of esteem ; receive it of a friend, who
shall ever remember you, and alight at your house whenever
I shall come to London."

The beating of my poor heart became visible ; I pointed
to the vehicle that stood waiting. We walked towards it,
Beethoven earnestly talking. A pause ensued — his pierc-

107

Beethoven

ing eye perceived that I wished to speak, and he inclined
his ear towards my lips, when I said, " Sir, should ever I
meet with an able artist, to whom I could communicate
and convey that, which had made such a deep impression
on my mind, I then would publish a better print." To
which he replied (in an Austrian dialect), " Es thut einen
ja wohl 'mal wieder einen menschen zu schauen." To
which I answered : " Fare thee well, thou noble and
highly-gifted being, Gott erhalte und schutze Dich ! "
Hoping that you will excuse my German English, I
beg, Sir, to subscribe myself

Your obedient servant,

J. A. STUMPFF.
August ^tht 1838,
44 GREAT PORTLAND STREET,
PORTLAND PLACE.

Of masks, busts and monuments relating to Beethoven,
there are as many and more than even portraits. In 1812
the sculptor Franz Klein took masks of Beethoven's face,
,.- , and it was from these that Hake made a good

. ' etching. A cast was also made when the

Busts and ° , , , ^ ,

,,. , master lay dead. Danhauser came m ere

Monumcnh . ..ULJU r ,.1. v. j r

the breath had been out of the body a few
moments and took the model. On the authority of Dr
J. N. Vogl an unforeseen obstacle presented itself : — " The
beard of the deceased, which had not been touched during
all the period of his illness, had to be removed. Danhauser
sent for a barber, who, of course, was willing to take the
impeding element away from chin and cheek, but demanded
a ducat for his services. A ducat was more than Danhauser
and his friend Rauft possessed between them at that time,
they, therefore, had to send this unwilling Figaro away and

1 08

Schaller Bust

undertake the operation themselves. Rauft hastened to
fetch his razor, and to sharpen the blade for the occasion.
Danhauser applied the soap, and Rauft cut the bristly beard,
after which Danhauser began his work."1 Years before
Danhauser had inveigled Beethoven into submitting to a
similar process. No sooner had the coat of plaster gradually
begun to thicken and affect his face than Beethoven became
horrified and enraged. He jumped up, smashed the chair,
and rushed like a raving madman into the street with the
plaster thick upon him, cursing the genial painter of
tableaux de genre most liberally and unambiguously at
every step he took. The bust by Klein, showing Beethoven
in his forty-second year, was made from the masks already
referred to, and is reputed to be the most faithful likeness
of its kind.

There is a famous bust modelled by Schaller, the noted
Viennese sculptor in 1826, and showing the master in his
fifty-sixth year. Excellent as the upper part of the face
undoubtedly is, the mouth might be objected to as being
over forcible. As against this criticism, however, there is
the expressed satisfaction with the work of Carl Holz, an
intimate friend of Beethoven for whom it was executed.
The following declaration is also associated with the like-
ness : " The bust is in every way unique, and the under-
signed gentlemen, who were all personally acquainted
with Beethoven, hereby certify that it is a remarkable
and speaking likeness of the great original : —

MORITZ GRAF zu DIETRICHSTEIN.
J. F. CASTELLI, Dr.
FREIHERR VON MAYENBERG.

1 "Musical Sketches" (Ella), vol. i. p. 10.
loq

Beethoven

FRANZ VON HEINTH, Dr.

O. J. MAYSEDER.

LEOPOLD VON SONNLEITHNER, Dr.

This bust was bequeathed to the Philharmonic Society of
London by Frau Linzbauer. Mr W. H. Cummings writes :
— "The directors of the Philharmonic Society had a few
casts made, one of which is always placed in front of the
orchestra at the public concerts." l

We look naturally to the birth-place of this renowned
genius for the first monument. Strangely enough it took
the composer's countrymen many years to upraise this
memento of his tremendous genius, and it might not
have been there to this day save for the munificence of
a fellow-musician who made the condition that if he
completed the funds for the monument he should have
the right of choosing the sculptor. The musician was
that striking personality in musical history — the Abbe
Liszt. This pianoforte genius paid some twelve hun-
dred pounds balance required, and in 1846 the fine
statue which now adorns Bonn was added to the assets
of that great music-loving community — the German
nation. Another Beethoven monument of importance is
in Vienna. It is by the sculptor Zumbusch, and occupies
a fitting site in front of the Gymnastic Academy. Of
the many monuments that have been erected in his
own country, and elsewhere, to Beethoven's honour,
this one must be accounted among the truest and best.
The Americans have not been behind, also, in recognis-
ing the debt of their section of the globe to Beethoven.
New York has found its native artist, and has erected

1 Musical Times, December 15, 1892.
no

His Religion

in that city one of the most magnificent of the world's
memorials to the work and genius of this truly great master
of sound.

In religion Beethoven was a Roman Catholic. He
was baptised in the faith of that Church, and its last rites
were administered to him at the period of extremis. To
what extent he was a strict and devout soldier of the
Church has not transpired. We hear little or nothing of
this either in his correspondence or from the testimony of
others. On the surface we must account him as belong-
ing to no church — one of that large percentage of men
whose good lives are not measured by their servitude
to religious procedure and method; and certainly his
temperament was not that of one prone to ^ , .
devotional rule and practice. He had, in fact, p /• •
no formal religion, no established creed, no
profession of faith. From some of his remarks he could
be taken for a Pagan. This was not so — he believed in
God. God was about him everywhere — not of the teach-
ings of others, but of his own innate convictions. He
saw the Deity in everything — in nature, in art, in every
stroke of good fortune, in every trial, and whether success
or failure awaited him, in his heart he accepted all as
from above. He asks Varenna to beg the admirable
Ursuline Convent sisters who administered to him in
sickness " to include him in their pious orisons." l " If
God spares me a few more years of life," he writes to
Bettina von Arnim, "I must then see you once more,
my dear, most dear friend." 2 " If I am spared for some
years to come, I will thank the Omniscient, the Omni-
1 Letter, July 19, 1812. * Letter, August 15, 1812,

III

Beethoven

potent for the boon, as I do for all others, weal and
woe," are his words to Bettina Brentano.1 Here are
two extracts from his diary showing his trustful depend-
ence upon the Almighty : — " Hard is thy situation at
present ; but He above is, oh, He is, and without Him
nothing is." — "God, God, my Refuge, my Rock, Thou
seest my heart ! Oh hear, ever ineffable One, hear me,
Thy unhappy, most unhappy of all mortals." He was
born a great and high-souled creature, and could not
get away from it. He salutes God in the woods and
valleys, by the lake and the ocean — at sunrise and sun-
set ; but with all this we do not learn much about his
going to church, and certainly there was not a shadow
of affectation of goodness about his nature. All through
his career his aspirations were ever towards a better,
nobler life, and no man, placed as he was, could have
persevered more towards the high goal. His note-books
and correspondence abound in religious touches and
meditative ejaculations which make us feel that wherever
he was there his God was with him. He did not wear
his religion on his sleeve, and he was no servile " saint,"
but he was a God-fearing man for all that. Nature and
deafness drove his goodness inwards. There is a current
doctrine that men of poetical and artistic power will
always be very much the creatures of imagination and
sensibility, and, in consequence, will be subject to alterna-
tions of elevation or depression — in the most capricious
forms — even their morals and religion being subject to
these laws in their nature, or rather to this absence of
law. But Beethoven was one who indisputably belies
this mischievous doctrine. There were no undulations
1 Letter, February 10, 1811.
H2

Purity of Life

in his conception of morality and honour. His code of
morals required a strong, honest character to carry out.
Whining cant was no part or parcel of his constitution,
as he often proved. The great bravura pianist Moscheles
— king of the " fireworks " school — had one day arranged
some of the Fidelio numbers which he submitted to
Beethoven for his approval. Upon examination the com-
poser discovered the words "By God's help" inscribed on
the MS. When Moscheles received it back he found this
addition — the characteristic advice — " O man, help thy-
self."

" It is one of my first principles," he stated, " never to
stand in any relations but those of friendship with another
man's wife." With all his attachments and his associa-
tions with fair and noble women — and the approval of
woman is the very lever of music — not a single suggestion
of liaison or scandal has been charged to Beethoven.
His escutcheon would not so long have remained un-
tarnished had matters been otherwise ; for the world is
ever ready to know of the foibles of its great men — and
especially of such a notable character as was Beethoven.
Every thread of his public and private life „ -,

has probably now been closely scrutinized; / /y

and he emerges from the ordeal with a fair
fame which more and more will thrill the multitudes
who, hour after hour, are listening to his matchless tones
to find in them a sure and strong ladder up the heights
where only his blessed harmonies can be excelled. No,
if it be urged that this great man — so far as music is
concerned the greatest the world will ever see — would
have figured better with some regard for precise pious
formulae, he must be his own defender through his life

H 113

Beethoven

and letters. Judging by the latter there was not much
amiss. The tone of his correspondence throughout is
that of the high-minded, thoughtful Christian — not priest-
ridden man. When divested of their exuberances these
letters show us the inner Beethoven better than all that
has been written by way of biography.

We find him ever ready to restore harmonious relations
wherever there have been squabbles or strained friend-
ships. After falling out with Stephen von Breuning and
making the resolve that the dissolution of the friendship
should remain "firm and unchangeable,"1 he seeks to
mend matters in most pathetic terms. His appealing
letter accompanied by a miniature painted by Horne-
mann in 1802 is well worth reading: — "Beneath this
portrait, dear Stephen, may all that has so long gone
on between us be for ever hidden. I know how I
have torn your heart. For this the emotion that you
must certainly have noticed in me has been sufficient
punishment. My feeling towards you was not malice.
No — I should no longer be worthy of your friendship;
it was passionate love for you and myself; but I doubted
you dreadfully, for people came between us who were
unworthy of us both. My portrait has long been in-
tended for you. I need not tell you that I never in-
tended it for anyone else. Who could I give it to with
my wannest love so well as to you, true, good, noble
Stephen. Forgive me for distressing you ; I have suffered
myself as much as you have. It was only when I had
you no longer with me that I first really felt how dear
you are and always will be to my heart. Come to my
arms once more as you used to do."2

1 Letter, July 1804. "2 Letter, 1811.

114

Czerny Testimonial

Beethoven always had a helping hand for others, and
with an ungrudging forgetfulness of self often gave even
to strangers the means of comfort that he himself much
needed. There is Spohr's testimony as to this : " He was
frequently in want of common necessaries," he writes.
" In the early part of our acquaintance, I once asked
him, after he had absented himself for several days
from the dining-rooms, ' You were not ill, I hope ? '
' My boot was, and as I have only one pair, I had house
arrest,' was his reply." l To his relations he was particu-
larly good. His brother Carl had been a cashier in Vienna
and had a long illness — throughout the whole of which the
musician provided for him. His wish was to make his
brother's life " less irksome." " I am obliged," he writes to
Princess Kinsky, " entirely to support an unfortunate sickly
brother and his whole family, which (not computing
my own wants) has entirely exhausted my resources."2
True Christianity, indeed.

When the severity of the conscription forced Ries to
the war and the youth wanted funds it was Beethoven
who pleaded his cause with the Princess Lichtenstein.
These were his words : — " Poor Ries, my scholar, is
forced by this unhappy war to shoulder a musket, and
must moreover leave this in a few days, being a foreigner.
He has nothing, literally nothing, and is obliged to take
a long journey. ... I send the poor youth to you in
the hope of somewhat improving his circumstances."3
One has only to read such a document as the testimonial
which he gave to Czerny to gauge the large-hearted,
honest man, perfectly free from all that pettiness and

1 Autobiography, p. 185. 8 Letter, 1813.

3 Letter, November 1805.

Beethoven

spirit of conscious excellence which mars lesser musicians.
It runs : — " I, the undersigned, am glad to bear testimony
„,. , to young Carl Czerny having made the most

r) j extraordinary progress on the pianoforte, far

beyond what might be expected at the age of
fourteen. I consider him deserving of all possible assist-
ance not only from what I have already referred to, but
from his astonishing memory, and more especially from
his parents having spent all their means in cultivating
the talent of their promising son. — LUDWIG VAN BEET-
HOVEN. "x

Yet, best evidence of all that the great composer was
a man who lived an upright life is furnished in the lasting
friendship of Pastor Amanda of Courland which he would
hardly have undeservedly enjoyed. The composer loved
the pastor almost with the love of woman. "The best
man I ever knew," he writes, "has a thousand times
recurred to my thoughts ! Two persons alone once
possessed my whole love, one of whom still lives, and
you are now the third. How can my remembrance of
you ever fade? . . . Farewell, beloved, good, and noble
friend ! Ever continue your love and friendship towards
me, just as I shall ever be your faithful BEETHOVEN."
And again : " My dear, my good Amanda, my warm-
hearted friend, — to what can I compare your fidelity
and devotion to me ! Ah ! it is indeed delightful that
you still continue to love me so well. I know how to
prize you, and to distinguish you from all others ; you
are not like my Vienna friends. No ! you are one of
those whom the soil of my fatherland is wont to bring
forth. . . . Write to me frequently : your letters, how-
1 Letter, December 7, 1805.
116

Strange Theology

ever short, console and cheer me so I shall soon hope
to hear from you."1

Thus, this great man was more a practical than formal
religionist. He was religious in the sense that Plato and
Socrates were religious. He is not credited with an
addiction to Bible reading, but he could put his finger
on such Gospel texts as " Love one another." He did
well enough by his fellow-men, and that he walked
humbly with his God there is little doubt. But in his
religion, as in other matters, he had a consciousness
which lifted him above ordinary mortals. So he made,
and kept under his daily observation a creed of his
own : —

" I am that which is.
I am all that, that was, and that shall be. No mortal man hath

lifted my veil.
He is alone by Himself, and to Him alone do all things owe their

being."

A very strange theology indeed ! Yet from this, and
such pictures as we have drawn, can his religion alone
be found.

1 Letters, 1800.

II?

Beethoven : The Musician.

Sublimity of Style and Expression— Student Application — Head and
Hand Worker — Early Productiveness — Clamourings for Free-
dom— Juvenile Compositions — The Musical Hour — Beethoven
the Pianist — The Composer — As Conductor — First Symphony
— Mount of Olives and Prometheus — Second Symphony —
" Kreutzer " Sonata — " Eroica " Symphony — Concerto in G —
Fidelia — Fourth Symphony — C Minor Symphony — Sixth Sym-
phony— Sees to Business — Seventh Symphony — Eighth Sym-
phony— Political Outpourings — Ninth Symphony — Last Quartets
— As a Sacred Music Composer — Mass in C — Mass in D — Rise of
the Orchestra — Orchestra as found by Beethoven — Orchestral
Variety — Instrumental Influence — Wagner on Beethoven's
Orchestration — Manns on Wagner — Wagner "additions" to
Beethoven — Metaphysical Qualities of the Music — Humanity of
his Music — Legitimacy of Style and Practice — Expansions of
Forms — Painstaking Workmanship — As a Chamber- Music
Composer — Symphonist and Sonatist — Characteristics of Style
and Diction — Beethoven's " Three Styles " — Followers.

BEETHOVEN, the musician, is a stupendous theme. From
whatever view he is considered, whether as a symphonist,
chamber - music composer, sacred harmonist and song
writer, or judged merely by his solitary opera Fidelia,
there is but one conclusion that adequately meets the
case or distinguishes his exact location. However musi-
cally regarded, Beethoven, when all is said and done,

118

" Ton-dichter "

stands a/one, towering pre-eminently. Of the great ones
of music — Palestrina, Gluck, Haydn, Mozart, and more
who have created periods, and had followers in the
history of music's art, Beethoven is most conspicuous.
He soars to a musical height never before reached; a
region of expressive tonal actuality and possibility the
like of which it seems hopeless to imagine will ever be
attained again. The sublimity of idea, tone and expres-
sion characterising his compositions lift him above all
other masters. His works are invariably invested with
attributes so lofty and contemplative that the merest
listener is moved to reflection and awe. ~ ,,. . ,
The title, " ton-dichter " or poet-in-music, cy / j

which Beethoven preferred to all others, was „ •;

en.* v j *. Expression

surely never more fitly applied to any tone-
weaver; and when his admirers think of such glorious
paintings as the Pastoral and Eroica Symphonies, the
pianoforte Sonata " Les Adieux, F Absence et le Retour"
and others, it is, indeed, difficult to call to mind anything
in the language of poetry, or in the painter's art which
portrays images more beautiful, more vivid, and more
true to nature than the creations of this king among
tone-poets. Never was there such harmonious genius
and intellect wedded, never before such grandeur of
conception and utterance.

There is no inexplicable secret in the vast scope and
character of Beethoven's muse, nor is it difficult to
account for its remarkable ascendancy over the minds
of men. Beethoven was a great artist and a tremendous
worker, while his whole life and soul were in his art.
That he was a born genius with wonderful wealth of
ideas and creative faculties is admitted, but these would

rrq

Beethoven

not have made him the greatest of the great composers
save for other gifts which he exercised and developed
to the full. In discussing Beethoven — the Musician —
we must get beyond the music and realise the rare
personality who made it — a man of great mind and views,
one who would have stood out among men wherever he
walked in life, though undoubtedly it cannot be said that
he missed his vocation ! Beyond his naturally grand
mind and intellect he harmonised himself with his con-
temporaries, and so attuned his faculties that the language
of Homer and Plutarch, and the classics of ancient Greece
was as vivid to him as that of Klopstock or Schiller, or
still more, that of his friend and collaborateur Goethe.
His grasp of men and things about him was so wide
that he could as well converse with a prince as with

0, , a bandsman: while his mind was such that

student . c ,

. j. . princesses found pleasure in talking to him

" upon the wide and various themes that

fringed the pursuit of his art, or which sprung out of
the brilliant, if betimes unsettled society life at Vienna
during the many years that he moved in it. What an
equipment for a musician asking for little more than
an aristocratic patronage !

Nor did he half learn his art. A more industrious,
painstaking, earnest student never breathed — one who,
instead of hazarding short cuts to perfection — a system
which too many students alas ! resort to only too hope-
lessly— Beethoven laboured away at his studies as if
heaven and earth depended upon his industry. This, too,
while he was not only studying but labouring besides —
for he had to earn his own livelihood and that of others.
Coincidently with qualifying for his art it was as we have

120

Strict Training

seen imperative that he should provide his daily bread.

Away then, in this instance particularly, with TT , ,

. , < . . ' , . . , CJ . Head ana

the delusion that the great masters of music ^ ,

.,..,, , .. i_ i j fiand

were individuals — born musicians who had ^. ,

only to put pen to paper to make themselves
the remarkable instances of humanity they indisputably
are. With one and all their capacity for hard work is
simply amazing.

It was a slowly unfolding genius, properly and naturally
developed, that led up to that wondrous aggregation —
Beethoven — the master. This genius, which an extra-
ordinarily high sense of life's mission seems more and more
to have ennobled, together with his marvellous capacity,
afford the clue to his transcendent might as a musician —
one who, we repeat, can have no equal so long as musical
art, as we know it to-day, remains.

Nothing was taken as granted, and the accustomed
methods of musical procedure were followed in his case
as closely as would be adopted in that of any German
student qualifying for music as a profession. From small
beginnings the great artist gradually emerged as magnifi-
cently as a huge edifice rears itself above a single founda-
tion stone. His first noteworthy achievements were mainly
with the pianoforte and thorough-bass ; these, in all good
time were to develop amazingly. His incomparable talent
culminated in a trinity of highest excellence. Not only as
a composer, but as a pianist and improvisor, his achieve-
ments stand as momentous for their import and influence,
as they do for their magnitude. He is credited with
having written a Funeral Cantata to the memory of a
friend of his family1 when he was little more than ten
1 Cressener.
121

Beethoven

years old ; and, if we are to believe the title, he certainly
composed some " Variations on a March," l by Dressier
at this early age. The record runs : " Composed by a
young amateur, L. V. B., aged 10 years. 1780."

A wonderful little fellow, as a boy, he must have
been, from the fact that when only eleven and a half years
old, Neefe could leave him to do duty in the Elector's
chapel, and honestly state of him that he could play
the whole of Bach's Wohltemperirte Clavier.

At the age of eleven years he approached Maximilian
Frederick, Archbishop and Elector of Cologne, respect-
ing the dedication of a juvenile effort — Three Sonatas for
the piano. He wrote : —

" ILLUSTRIOUS PRINCE, — From my fourth year music
has ever been my favourite pursuit. . . . May I now
presume to lay the first-fruits of my juvenile labours at the
foot of your throne, and may I hope that you will con-
descend to cast an encouraging and kindly glance on
them?"

This was undoubtedly a discreet and sufficient homage
to rank, suggesting a spirit of respect and admiration for
exalted society which might have been expected to de-
velop with years. It stands in great contrast, however, to
Beethoven's bearing in after life towards those on a
higher social plane; especially in view of such an inci-
dent as that of his encountering the Imperial family on
the road and refusing to make way for them. By the way,
the "Van" prefixed to his name was once mistaken by the
Austrian "Landrecht" as a mark of nobility. Placing his
hand first on his head and then on his heart, the brusque
1 C Minor.
122

Smouldenngs of Genius

man, with his accustomed sturdiness, shouted, "My nobility
is here — and here ! "

His early faculty for production was formed, never to
tire. While carrying on his chapel and theatre duties, he
composed, among other minor pieces, three Sonatas for
piano solo (1781), a Rondo in A for the „ .

piano, a pianoforte Concerto, and some songs p j f-
(1784). The next year gave birth to three
Quartets for piano and strings, and Minuet for
piano in E flat, and another song.

1787 was marked by a Trio in E flat, and a Pre-
lude (F minor) for piano; while between these and his
coming - of - age, the industrious young man wrote two
Preludes through all twelve major keys for pianoforte
or organ, twenty-four Variations on Righini's " Vieni
Amore," songs, etc. These productions need not be
over-estimated. Neither in extent nor quality do they
presage the great things that were to come, while
they fall far below the line of Mendelssohn's C minor
Symphony, and "Midsummer Night's Dream" Overture,
Schubert's C minor, or " Tragic Symphony," Mozart's
fine opera — "La Finta Giardiniera" — all composed ere
their respective authors had reached the age of twenty-
one years. The explanation is not far off, however.
Beethoven's earnest enquiry into, and method of grap-
pling with the principles of Art, were not yet at an end.
He had not been to Haydn; while, more especially,
his environment generally throughout his early life ill-
favoured the contemplative mood — free from all dis-
traction for composition.

Smoulderings from within this volcano did not, how-
ever, pass unperceived. Someone, when Beethoven was

Beethoven

twenty-three, had found his inner mind. " He intends to
compose Schiller's Freude" wrote a correspondent to the
sister of the author of Wallenstein and Wilhelm Tell,
" and that verse by verse I expect something perfect,
for, as far as I know him, he is all for the grand and
sublime. " 1 Strangely, this intention was not consummated
until the " Ninth " Symphony came into the world !

It was now that Beethoven started his lessons under
Haydn, the first payment traceable being made on De-
cember 1 2th, 1792. The text-book was Fux's "Gradus
ad Parnassum," at which he worked with a will, judging
by the exercises — some 250 — which have come down to
us, and 42 only of which Haydn corrected.2 No wonder
that Beethoven would not describe himself as Haydn's
pupil — as " Papa " desired him to do, but, on the con-
trary, published it abroad that he had got a few lessons
from Haydn, but had never learnt anything from him.3
Under Albrechtsberger he made the acquaintance of that
great theorist's text-book, " Grundliche Anweisung zur
Composition," but the profound pedant's lessons and
scholastic vigour, while fortifying Beethoven, had the
effect also of convincing him that such a rigid rule-of-
thumb science was ill-suited to what he, in his soul, had
to express.4

1 Letter, January 26th, 1793.

2 Beethoven's Studies — Nottebohm.

8 " Biographische Notken iiber Ludwig van Beethoven," Ries —
Wegeler.

* There were over 260 of these exercises under Albrechtsberger
issued in a posthumous work entitled " Beethoven's Studies in
Generalbasse, " published at Vienna in 1832 ; but they were neither
put together nor intended for publication by Beethoven.

124

Dogma Shackles

It is easy to imagine this impetuous fellow forced to
bend under the yoke of antiquated rules, which he was
easily led by his ardent imagination to disregard. He
was constantly, therefore, committing sins against ac-
cepted musical dogma, which his teacher as constantly
endeavoured to correct. Hence, many disputes and
squabbles, though the scholar never forgot the respect
and esteem which he owed to his venerable instructor.
Beethoven completed his course, and carefully preserved
the exercises wrought out under the eye of this master;
scribbling upon them, however, many a sarcasm against
theorists and their precepts. "These are the exercises
which," we are told, " were vamped up as a trading specu-
lation in a posthumous work." It was a very improper
publication; but still it is interesting as showing the
young musician's contempt for some of the tasks which
" old squaretoes " imposed upon him. There is a chapter
on Canon, for instance, containing examples of this kind
of composition in all its absurd and puzzling variations.
In his enumeration of these varieties is mentioned "the
numerical and enigmatic canons, which, like everything
that partakes of the nature of a riddle, are easier to invent
than to solve, and seldom yield any compensation for the
time and trouble bestowed upon them. In former times,
people took a pride in racking their brains with such
contrivances ; but the world is grown wiser I " " What
good," Beethoven is reported to have said, " can result

from all this? Multum clamoris, parum ~,

7 i T> -ui T u it •« Clamour-

lanae I Possibly I may try my hand at it ,

some of these days when I have nothing of

,, .. Freedom

a more reasonable nature to occupy my time.

At present, thank Heaven, I am not in that predica-

125

Beethoven

ment, and it will be a pretty long time, I suspect, before
I am."

In conversation with his musical friends, Beethoven
took pleasure in ridiculing the strict precepts of the
schools. When anyone ventured to point out infringe-
ments of them in his compositions, he used to cavalierly
cast aside the small scrupulosities of his would-be censors.
When in good humour on such occasions, he would rub
his hands, and exclaim, laughing heartily, " Oh yes, yes —
you are quite astonished, and at your wit's end, because
you cannot find this in one of your treatises." " One
day," says Ries, " when we were taking a walk together, I
spoke of two consecutive fifths in one of his first sets of
violin quartets (that in C minor), which produce a
striking and beautiful effect. Beethoven did not recol-
lect the passage, and would have it that there were no
fifths in it. As he usually carried music paper in his
pocket, I asked him for a bit, and wrote down the passage
in four parts. Beethoven, seeing that I was right, said,
' Well, who has prohibited the use of fifths like these?' I
was at a loss how to take the question. He repeated it
several times, till at last I answered, greatly surprised at
his putting it, ' Bless me, they are forbidden by the
very fundamental rules of harmony!' Still he insisted on
knowing by whom. I said, ' By Marpurg, Kirnberger,
Fux, every theorist who has ever written on the subject.'
' Well,' cried Beethoven, ' they may have forbidden them,
but /allow them!'"

To the end of his life Beethoven violated rules when-
ever he thought proper — especially if the progress of
an idea was likely to be interfered with by a slavish
adherence to some law of harmony. A reference to

126

Juvenile Compositions

the Finale of his Sonata in A, op. 101, will show some
consecutive fifths that would make many a pedant's hair
stand on end. But Beethoven, it must be remembered,
though he scattered laws aside like ninepins, had some-
thing to put in their place. We hear a good deal about
Beethoven's " contempt " for rules in composition, but
it must always be borne in mind that he learnt them
before breaking them. Men like Haydn and Albrechts-
berger were hardly likely to give the sturdy pupil much
rest or license while he was in their hands; and, as a
fact, there exist some 500 Exercises over which young
Beethoven pored, and, we may be sure, heaved many a
sigh while studying with these rigid adherents to law and
principle. His own wish was to master every detail ot
his art, and a glance at any few inches of his music will
show how thoroughly he did this. He must have been
an indefatigable worker in his student days to have
commanded the technical subtleties of his art in the
manner which every bar of his music indicates.

Most of his juvenile compositions may here only be
glanced at. A Cantata he wrote on the death of
Joseph II. (not discovered until 1884) ; the string Trios —
ops. 3 and 9 ; the two Sonatas — op. 49, and two Rondos
for pianoforte — op. 51, are valuable, particularly, as showing
the future Beethoven in tone and atmosphere — infinitely
superior compositions having emanated from several of
the great masters at a similar age. The fact is, Beethoven
was not precocious ; and all the results he attained,
whether early or late, were the outcome of solid hard
work. His strong musical habits and industrious charac
ter began asserting themselves at this early stage, .but the
results were not amazing. Rather than composition, his

127

pianoforte playing — especially his extemporizations, as,
indeed, would be quite natural — reflected more than
aught else at this time the rare order of his creative
promise and temperament.

We might write of some other works in almost a similar
,- .. strain. The three Trios, two Concertos in

>, . B flat and C, for piano and orchestra, com-
Composi- ,,*

. * posed in 1795 ; three piano Sonatas — op. 2 ;

Adelaide}- a Cantata for Soprano, with piano-
forte accompaniment, composed in 1795; the Sonata in
D — op. 10, No. 3, composed in September 1798 — here
again we have works, excellent though they are, which
furnish in their flavour, rather than their workmanship,
the clue to the future composer. The merest piano-
forte player is familiar with opus 2, the Sonatas which
Beethoven dedicated to Haydn, despite the shabby
treatment he seems to have received from the "Father
of Symphony."

There is, however, another point. These early piano-
forte compositions, like the three Trios2 for pianoforte,
violin, and violoncello, op. i, establish one of the most

1 Of the song Adelaida a good story is told : — Before the notes were
well dry on the original MS. a visitor was announced — Beethoven's
old friend Barth. "Here," said Beethoven, putting a sheet of score
paper in his hand, " look at that. I have just written it and don't
like it. There is hardly fire enough in the stove to burn it, but I will
try." Barth glanced through the composition, then sang it, and
finally grew into such enthusiasm concerning it as to draw from
Beethoven the promise of, "No, then, we will not burn it, old
fellow." And so the glorious Adelaida was saved.

3 It will be noted that although these Trios were the first published
compositions, they were not the composer's first writings. Beethoven
was twenty-five years old at the time of their issue.

128

4 Pathetique ' Sonata

remarkable characteristics in this composer, viz., the
spontaneity of his episodes — a quality which ran through
his works almost to the end, and which the learned
French analyst, Fe"tis, with marked critical acumen, does
not fail to notice : — " By this means, Beethoven," to
translate Fe"tis, " withdraws the interest he has already
created, to replace it by something as lively as it is
unexpected. This gift is peculiar to him. These
episodes, which were apparently contrary to his original
inspirations, moreover attract one's attention by their
originality, and then, when surprise gradually wears
off, Beethoven knows how to re-connect them with
the unity of his plan, and thus shows that variety
is dependent on unity in the general effect of his
composition."

Before passing on, a few other compositions need
notice. In October 1797 was published the Sonata in
E flat, op. 7, dedicated to the Countess Babette von
Keglevics. It stands No. 4 in the Peters' edition, and
will be remembered for its expressive Largo and remark-
able Rondo, The favourite Sonata, "Pathetique,"1 op. 13,
saw the light in 1799, although Beethoven probably
played it before then at Prince Carl von Lichnowsky's.
But a still more important work was at hand — to wit,
his Quintet in E flat, op. 16, for pianoforte, oboe,
clarionet, bassoon, and horn — a work which could not
have failed to have appreciably enhanced its composer's
worth. Though not published until 1801, this score
belongs to about the 1796-7 period, and may be com-

1 The ground for this title is unknown. Beethoven himself gave it,
though he named neither the so-called "Appassionata"or "Pastoral"
Sonatas.

I 129

Beethoven

pared with Mozart's and Haydn's latest chamber music
with much interest. After this, Beethoven started the
six string Quartets (F, G, D, C minor, A, B flat), op. 18,
completed in 1800, and which he dedicated to Prince
von Lobkowitz; then followed the B flat Concerto for
pianoforte and orchestra, op. 19, after which he fairly set
sail upon the vast sea of harmonious possibility and
expression.

Space precludes us from occupying the reader longer
respecting Beethoven's early compositions, the remainder
of which take their place in the Catalogue. In 1799 he
wrote his First Symphony; but before proceeding with
the consideration of his progress as a composer, we may
well pause to view him as he soon assuredly was, and
long remained — the busy practical musician and worker
— following his profession in the chief centre of European
musical life under conditions totally different from any-
thing in vogue to-day, when the burden of much detail is
taken off the hands of artists and concert-givers by a
merciful management. Ten or so decades ago the
pursuit of music professionally often involved the greatest
artists in immense labour and loss, as well as discomfort,
against which there were few of the counteracting advan-
tages which now accrue. There were then no " schools "
or " academies," giving employment to hundreds of pro-
yn fessors of all ranks ; fewer private houses

,f . , were open to, or needed the service of, the

„- ' musician and his art at almost every public

Hour , . . r . / *

and private society function ; pupils could

be counted by units where they now exist in hundreds ;
much fearful drudgery had to be undergone in the way of
copying ere performers could have their respective parts

130

Reverence for Music

— which, when they arrived, were frequently faulty \ the
remuneration paid was scandalous considering the calibre
of the musicians,1 although this was more the fault of the
times than of the individuals. But, weightiest point of all,
the music had to be composed before it could be per-
formed before patrons ; and to this fortunate fact, we owe
nearly every one of Beethoven's compositions. Patrons
in those days certainly did yeoman service for the
musicians, although the latter paid dearly for it, and
rendered magnificent returns for the little they received.
Imagine for a moment what the score of a new sym-
phony or opera by Beethoven would fetch nowadays !
Impelled by their love of music for music's sake, however,
men like Bach, Schubert, and Beethoven worked on —
content if they could pay their way and exist in peace,
although they did not always succeed in accomplishing
this.

The keynote of Beethoven's professional life was rever-
ence for his art — as he comprehended and expounded it.
No one man ever worshipped at Music's shrine more
devoutly than did the Bonn master, who could think and
do nothing concerning and involving his art that was not
holy. He could not endure the semblance of a slight to
true music, whether such was the outcome of ignorance or
ingenuity.

On one occasion during a rehearsal, his patron,
Lobkowitz, hazarded the little joke that a " third "
bassoon player, who had absented himself without per-
mission, would not be greatly missed, as the " first "

1 Haydn, for instance, was paid 8 groschen — gjd. per hour — for
lessons I

Beethoven

and "second" bassoonists were already in their places.
Joke or no joke, Beethoven was furious. As soon as the
rehearsal was over, he ran to the prince's residence and
bellowed as loud as he could up the courtyard, " Ass of a
Lobkowitz ! Fool of a Lobkowitz ! "

At the pianoforte Beethoven seemed a god — at times in
the humour to play, at others not. If he happened not
to be in the humour, it required pressing and reiterated
entreaties to get him to the instrument. Before he began
in earnest, he used sportively to strike the keys with the
palm of his hand, draw his fingers along the key-board,
from one end to the other, and play all manner of
gambols at which he laughed heartily. Once at the
pianoforte and in a genial mood with his surroundings,
he would extemporise for one and two hours at a stretch
amid the solemn silence of his listeners. He demanded
absolute silence from conversation whenever he put his
fingers upon the pianoforte keys to play. If this was not
forthcoming he rose up, publicly upbraided the offenders,
and left the room. This mode of resenting a nuisance —
one not yet extinct — was once illustrated at Count
Browne's, where Beethoven and Ries were engaged in
playing a duet — yet during which one of the guests
started an animated conversation with a lady. Ex-
asperated at such an affront to his artistic honour,
Beethoven rose up, glared at the pair, and shouted out,
" I play no more for such hogs " — nor would he touch
another note or allow Ries to do so, although earnestly
entreated by the company. " His improvisation," Czerny
tells us, " was most brilliant and striking ; in whatever
company he might chance to be, he knew how to pro-

132

Beethoven's last Grand Piano,
by Graf, Vienna

As Pianist

uce such an effect upon every hearer that frequently

not an eye remained dry, while many would „ .,

i j u r ^v. Beethoven

break out into loud sobs, for there was ,

something wonderful in his expression in p' ' t

addition to the beauty and originality of
his ideas and his spirited style of rendering them."1
Ries says : " No artist that I ever heard came at all
near the height Beethoven attained in this branch of
playing. The wealth of ideas which force themselves
on him, the caprices to which he surrendered himself,
the variety of treatment, the difficulties were inexhaustible.
Even the Abbe" Vogler's admirers were compelled to
admit as much."2

Tomaschek was greatly impressed by Beethoven. He
writes: "It was in 1798 when I was studying law, that
Beethoven, that giant among players came to Prague. . . .
His grand style of playing, and especially his bold im-
provisation, had an extraordinary effect upon me. I
felt so shaken that for several days I could not bring
myself to touch the piano."

During his summer residence at the seat of a Maecenas,
he was on one occasion so urgently pressed to perform
before the stranger guests, that he became quite enraged
and obstinately refused a compliance which he considered
would be an act of servility. A threat that he should >~e
confined a prisoner to the house, — uttered, no doubt,
without the slightest idea of its being carried into
execution, — so provoked Beethoven, that, night-time as
it was, he ran off, upwards of three miles, to the next
town, and thence, travelling post, hurried to Vienna.

|As some satisfaction for the indignity offered him, the
^hayer, v. xi. p. 10. 2Thayer, v. xi. p. 236.

'33

Beethoven

bust of his patron became an expiatory sacrifice. It fell,
shattered into fragments, from the bookcase to the floor.

When there was applause on the part of his listeners
— as there invariably was — he generally made a grimace,1
either smiled in derision or adopted a feigned uncon-
sciousness of the expression of approval. Not infrequently
on such occasions he was right down rude to the grateful
appreciative auditors whose emotions had been so moved
by his impressive playing. Such appreciation he pre-
tended to regard as uncalled for, or he construed it
into an indication of simplicity and weakness. Thayer
tells us that his frequent comment upon his admirers'
enthusiastic expressions of wonder was this — " We artists
don't want tears, we want applause."2 His manner was
to sit in a quiet way at the instrument — commanding his
feelings; but occasionally, and especially when extem-
porising, it was hard to maintain the pose. At extreme
moments he warmed into great passions so that it was
impossible for him to hide from his listeners the sacred
fires that were raging within him. Czerny declares that
his playing of slow movements was full of the greatest
expression — an experience to be remembered. He used
the pedal largely and was most particular in the placing
of the hands and the drift of the fingers upon the keys.
As a pianist, he was surnamed " Giant among players,"

1 The explanation of this sort of behaviour on the part of some
musicians here and there is difficult to offer. All who knew well
the late Mr Augustus L. Tamplin, who was a veritable genius on
the organ and harmonium, will remember that he supplied quite
a modern parallel to Beethoven in his eccentric reception of re-
cognition and applause upon his really extraordinary performances.

8 Thayer, v. xi. p. 13.

134

As Teacher

and men like Vogler, Hummel, and Woelffl, were of a
truth great players ; but as Sir George Grove aptly says
in speaking of Beethoven's tours de force in performance,
his transposing and playing at sight, etc. — " it was no
quality of this kind that got him the name, but the
loftiness and elevation of his style and his great power
of expression in slow movements, which, when exercised
on his own noble music, fixed his hearers and made them
insensible to any fault of polish or mere mechanism."1

That he was a good teacher when he cared to exert
himself in this direction, we know from the testimony and
example of his pupil Ries. Not that he was cut out for
the drudgery of teaching, to which he only resorted to
provide himself with the necessaries of life. He had the
greatest repugnance for the exactions of tutorial work, or,
indeed, for any irksome routine task. This must often
have jeopardized his position with his pupils, especially
in such profitable directions as the Lichnowskys, the
Archduke Rudolph, and others ; but one and all gave
way to him, and overlooked his uncertainty of temper
and intractableness generally. Kockel says : — " He had
an aversion to the enforced performance of regular duties,
especially to giving lessons, and teaching the theory of
music, in which it is well known that his strength did not
lie, and for which he had to prepare himself." Do what
she would, Madame Breuning could not prevail upon him
to keep his teaching engagements — necessary as the money
for them was to him. Time after time she rebuked and
expostulated with him, but, all in vain ! She gave up
with a sigh, and the remark, " He is again in his raptus"

That he was conscientious enough when imparting in-
1 " Dictionary of Music and Musicians," Grove, v. i. p. 169.

Beethoven

struction, we may be sure ; indeed, pupils must have had
a bad time of it with him. He himself told Fraulein
Giannastasio that he rapped the Archduke Rudolph's
knuckles — probably because he did not, or would not,
finger correctly; but it must be remembered that the
master was double the age of the pupil.

When he was not at the pianoforte, the whole of Beet-
hoven's morning, from the earliest dawn till dinner-time,
was employed in the mechanical work of writing ; the
rest of the day was devoted to thought and the arrange-
ment of his ideas. Scarcely had the last morsel of his
meal been swallowed, than, if the composer had no more
distant excursion in view for the day, he took his usual
walk, that is to say, he ran in double quick time, as if
haunted by bailiffs, twice round the town. Whether it
rained, or snowed, or hailed, or the thermometer stood an
inch or two below freezing point — whether Boreas blew a
chilling blast from the Bohemian mountains, — or whether
the thunder roared, and forked lightnings played, — what
signified it to the enthusiastic lover of his art, in whose
genial mind, perhaps, were budding, at the very moment
when the elements were in fiercest conflict, the harmonious
feelings of a balmy spring ?

Nothing suited Beethoven better, however, than a ramble
in the fields — an exercise that had a wonderful influence
on his inspiration. He could commune with Nature,

„ , , and, alone with it. realised all that was grand,

Beethoven 7. ,,. ", .

, awful, exalting, and inspiring. In such moods

f- . he would sit down under a tree, as one en-

™ J tranced, to his score-paper, and indite themes
which are imperishable.

When composing, it was his invariable habit to keep

136

Manner of Composing

in his mind's eye a picture to which he worked. He once
said to Neate, while rambling in the fields near Baden,
"Ich habe immer ein Gemalde in meinen Gedanken,
wenn ich am componiren bin, und arbeite nach dem-
selben." 1 [I always have an ideal in my thoughts
when I am composing, and work as my thoughts guide
me.] The Eroica, Pastoral, and Battle Symphonies are
examples, among many, of compositions which owe their
character and titles to the custom mentioned.

Beethoven's — and, for the matter of that, every com-
poser's manner of writing is a matter of peculiar interest.
Unlike Schubert, who wrote on the spur of the moment on
any scrap of paper at hand — the back of a bill of fare
would do so long as it enabled him to get his ideas out
of himself — Beethoven adopted a deliberate and serious
method of transmitting to paper the glorious emanations
of his master-mind. What he wrote down, and allowed to
remain, was the result of a slow reasoning process and
severe inward working. His stores of musical memoranda
were constantly requisitioned. The musical notes and
ideas which, as they occurred to him, he regularly re-
corded and preserved in his " Sketch-books," were ex-
tremely useful. An " idea " — a primordial germ which
may have been gathered in the seclusion of some forest
glade — this, at the master's will, would be worked up into
a vast harmonial movement. No pains were too great to
bestow upon the smallest idea culled from his pocket-book
stock. Then Beethoven thrashed it out, extended it,
weaved it over and under, this way and that, as the
interminable machinery interlocks its wools and cottons,
until at last it grew into a work of art — an opus to add
'Thayer, v. Hi. p. 343.
137

Beethoven

more glory to his immortal fame. It was to provide him-
self with "subjects," which he could thus develop, that he
regularly carried these " Sketch-books," of which we shall
say more, so that he might never be at a loss for an idea
if he wanted one.

Beethoven differed from Mozart in this respect. The
latter carried all his ideas and worked them out completely
in his head before committing them to paper. Beethoven
adopted another course. He set down his ideas or sub-
jects, and worked them out then and there — always
bestowing immense pains to express himself at his best,
and frequently touching and retouching, to make, as it
were, perfection more perfect. And what is most remark-
able, the longer he worked at his phrases, the more seem-
ingly spontaneous did they become. Though the methods
of working of these two great composers appear so opposite,
they both sprang from acute mental reasoning, and are not
really far separated after all. It is difficult to distinguish
between the advantages of the processes, because no two
minds think alike in these things ; and whether Beethoven's
more material method, or Mozart's more mental plan is the
one for composers to follow, we decide not. It is not right
to infer from this dissimilarity in working that Beethoven
was less a mental engineer than Mozart. He was ever
under the strain of severe musical argument, but he found
it convenient to persistently clear the intellectual atmo-
sphere— to get his thoughts down on paper as quickly as
possible in order to make room for the new ideas, of
wondrous variety and quality, which so incessantly crowded
upon his fertile imagination.

Great composers — or for the matter of that — composers
generally — do not make good conductors, and Beethoven

138

As Conductor

was no exception to the rule. Unlike Mendelssohn, who
could conduct and had the rare temper to win forces and
infuse them with his spirit — Beethoven ruled and com-
manded his players as a drover does his herd, and as
deafness and quickness of temper overtook him he grew
more overbearing, exacting and extravagant. .

His whole body was utilised to indicate the „ ,
effects he desired. The performers under
him were obliged to avoid being led astray by the
impetuosity of the master, who thought only of his own
composition, and constantly laboured to depict the exact
expression required by the most violent gesticulations.1
Thus, when the passage was loud he often beat time
downwards, when his hand should have been up. A
diminuendo he was in the habit of marking by contract-
ing his person, making himself smaller and smaller until
when a pianissimo was reached, he seemed to slink
beneath the conductor's desk. As the sounds increased
in loudness, so did he gradually rise up, as if out of an
abyss ; and when the full force of the united instruments
broke upon the ear, raising himself on tiptoe, he looked
of gigantic stature, and, with both his arms floating about
in undulating motion, seemed as if he would soar to the
clouds. At a sforzando he suddenly tore his arms apart,
and at a sudden forte gave out a great shout. He was all
motion, no part of him remained inactive, and the entire
man could only be compared to zperpetuum mobile.
When Beethoven's deafness increased, it was productive

1 In 1804 he was conducting the Eroica Symphony, and at that
passage in the opening Allegro where Buonaparte is being portrayed
in thundering riot so lost himself and confused the players that he
had to stop the work and start afresh from the opening.

139

Beethoven

of frequent mischief, for his hand would go up when it
ought to have descended. He contrived to set himself
right again most easily in the piano passages, but of the
most powerful fortes he could make nothing. In many
cases, however, his eye afforded him assistance, for he
watched the movements of the bows, and thus discovering
what was going on, soon corrected himself. When pleased
with the work of his orchestra he liked to give a thunder-
ing " Bravi tutti."

Spohr tells an amusing story of Beethoven as a conductor.
The tragi-comical incident took place at Beethoven's last
concert at the Theatre " An der Wien " : — " Beethoven
was playing a new Pianoforte Concerto of his, but forgot
at the first tutti that he was a solo player, and springing
up began to direct in his usual way. At the first sforzando
he threw out his arms so wide asunder that he knocked
both the lights off the piano upon the ground. The
audience laughed, and Beethoven was so incensed at this
disturbance, that he made the orchestra cease playing and
begin anew. Seyfried, fearing that a repetition of the
accident would occur at the same passage, bade two boys
of the chorus place themselves on either side of Beethoven
and hold the lights in their hands. One of the boys inno-
cently approached nearer, and was leading also in the notes
of the piano part. When therefore the fatal sforzando
came he received from Beethoven's out-thrown right hand
so smart a blow on the mouth that the poor boy let fall
the lights from terror. The other boy, more cautious,
had followed with anxious eyes every motion of Beethoven,
and by stooping suddenly at the eventful moment he
avoided the slap on the mouth. If the public were
unable to restrain their laughter before, they could now

140

' First ' Symphony

much less, and broke out into a regular bacchanalian
roar. Beethoven got into such a rage, that at the first
chords of the solo half a dozen strings broke. Every
endeavour of the real lovers of music to restore calm and
attention was for the moment fruitless. The first Allegro of
the Concerto was therefore lost to the public. From that
fatal evening Beethoven would not give another concert." x

We arrive now at something of a landmark — the date
(1800) from which Beethoven's works were composed in
regular succession and when they can be considered,
therefore, under the years to which they belong. The
"First"2 Symphony was first performed on April znd,

1 Autobiography, page 186.

2 Adagio molto. ^

N (88-.T).

Allegro con brio. (112 — d ).

&c.

ipEzziff

141

Beethoven

1800, so that its composer was in his thirtieth year at
the time. Towards the end of 1801 it was published,1
and to those who have heard it, it may appear an extra-
ordinary effort for a man of his years, though such an
impression fades away in face of the fact that Mozart

Andante cantabile con moto. (120 — J ).

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142

c First ' Symphony Scoring

had composed no less than forty-five symphonies by the
time he was thirty-one. Nor is this aspect of the matter
to be accentuated when it is remembered that Mendelssohn
had composed his first symphony l at the early age of
fifteen years.

As the first2 of Beethoven's "immortal nine" Symphonies,
if on no other grounds, the present score will always com-
mand the admiration of the great body of musicians and
amateurs who delight in the orchestral glories which the
master has prepared for them. If the evidence of several
sketches and exercises of 1795 is to be trusted it was by

i
Allegro motto e vivace. (88 — Gf ).

1 The C Minor, op. n, dedicated to the Philharmonic Society.

2 In C Major, op. 21, dedicated to Baron van Swieten, and scored
for the following instruments : —

Flutes 2

Oboes 2

Clarinets in C . . . 2

Bassoons . . . . 2

Horns in C . . . 2

Trumpets in C . . . 2

Drums . . . . . 2 in C and G

Violins ..... 1st and 2nd

Violas

Violoncello e Contrabasso

A Revelation

no means a spontaneous effort, but one built up on those
studied substantial lines on which Beethoven worked from
the first. At its initial public production the work attracted
little favourable notice, probably partly because of the in-
different performance, and partly because the composer
was " suspected " by the musical authorities. But what a
blow he gave them on this occasion ! That he was bent on
breaking the bonds of academical propriety was no longer
in doubt on the sound of the very first chord of this
symphony. Who, indeed, before him had possessed the
temerity to hurl at artistic sense and reason an unprepared
dominant 7th chord on C to open a composition in the
key of C ! No wonder a wisehead dismissed the score as
"a caricature of Haydn pushed to absurdity." Yet of
determined stuff was its composer made; and to this
originality of thought and other fine aspects of his super-
lative genius — the world owes the true Beethoven. Un-
happily, space forbids us entering, either critically or
analytically, into Beethoven's several scores, or much
might be written of this C Symphony. It must suffice
to say that for conception, originality of ideas, orches-
tration, modulation and inner working it is essentially

Jeethoven himself. Its Minuet and Trio must have proved
revelation — at any rate to the pedagogues, in as much
he " forsook the spirit of the minuet of his predecessors,

icreased its speed, broke through its formal and anti-
juated mould, and out of a mere dance tune produced a

'chcrzo, which may need increased dimensions, but requires
10 access of style or spirit to become the equal of those

reat movements which form such remarkable features
his later symphonies." x The autograph of this Sym-
1 " Beethoven and his Nine Symphonies" (Grove) p. 10.
K MS

Beethoven

phony is unfortunately lost, but the world has a record of
the price at which it was offered to the publisher, viz. 20
ducats — ;£io.

The Symphony just inadequately discussed was not the
only composition of this year. To it also belongs the C
minor Concerto, op. 3 7 ; the famous Septet for strings
and wind, op. 20 ; the six Quartets already referred to,
the Prometheus music, op. 43, the Mount of Olives oratorio,
op. 85, and other lesser works.

The Concerto1 is for pianoforte and orchestra, and
worthily ranks among the highest examples in this form,
while the Septet,2 a magnificent spontaneous effort, stands
at the head of works of its order.

The original German title of the Mount of Olives* oratorio
was "Christus am Oelberge," and, strangely, is the only

, , , effort which Beethoven made in the oratorio

Mount of ,
~j. *-. form, thus providing in this respect, though

„ , not in quality, a parallel to Fidelia in opera.

Written for Soprano, Tenor, Bass, Chorus

and Orchestra, it was Beethoven's first vocal production

on a large scale. Its initial performance took place on

April 5th, 1803, at Vienna,4 at a concert in the An

1 First played by Beethoven himself in 1800, and published by the
Bureau des Arts et d'Industrie, Vienna, November 1804.

2 For Violin, Viola, Violoncello, Contrabass, Horn, Clarinet, and
Bassoon. First played at the composer's benefit concert in 1800.

3 Called in England Engedi, a new libretto, with the story of David
in the wilderness replacing, but to no better purpose, the original
book.

4 Its first hearing in England was under Sir George Smart, on
February 25, 1814, when the Lenten Oratorio performances were
taking place at Drury Lane Theatre. Several English versions have
appeared : the best is that by the Rev. J. Troutbeck.

146

Prometheus Music

der Wien Theatre, where the work commanded such notice,
that it was reproduced three times by various concert-givers
in the space of the twelve months following its first hearing.
Beethoven, we have learnt, was not very orthodox in his
religious procedure, and in this work this is well reflected.
As music per se, the Mount of Olives is entrancingly beauti-
ful, possessing as it does all the freshness of Beethoven's first
style. Considered as an oratorio, however, it barely deserves
the name, and certainly can never rank among the great
examples of that form — mainly on account of the ex-
travagant character of the libretto, which seems to be
most humorous where it should be most penitential. It
is, as the late Mr Rockstro described it, "a monstrous
anomaly." * When the Divinity is made to sing a trying
solo, and join with others in an exhibition of unctuous
thirds and sixths, until one's feelings positively rebel, the
extremes of absurdity and blasphemy appear to be reached.
The setting of this libretto is the only blot on Beethoven's
musical character.

The Prometheus Ballet music, an overture, introduction,
and sixteen numbers, brought out at the Burg Theatre
on March 28, 1800, was at once acclaimed a success, so
much so that its composer set to work and issued it as a
pianoforte solo. By its long run of performances in 1801,
and again in the following year, Beethoven is supposed to
have appreciably benefited his exchequer, inasmuch as at
this time he took healthier and more expensive lodgings
in the Sailerstatte. In his article on "Beethoven,"2 Sir
George Grove introduces us to a pleasing story in connec-
tion with the first performance of the Prometheus music

1 "Dictionary of Music and Musicians," vol. ii. p. 553.
1 Ibid., vol. i. p. 180.

Beethoven

Haydn had attended the concert, and meeting Beethoven
the next day, said, " I heard your new Ballet last night,
and it pleased me much." " O lieler Papa" was the reply,
" you are too good ; but it is no Creation by a long way."
This unnecessary allusion seems to have startled the old
man, and after an instant's pause, he said, "You are right. It
is no Creation, and I hardly think it ever will be." Quite a
case of diamond cut diamond ! It can be said of Prometheus,
however, that it was the only ballet that had ever been per-
formed in the concert-room for the sake of the music alone.1
1 80 1 brought to light four important works, — the
Pianoforte Sonatas ops. 26, 27, 28, and the Quintet in
C, op. 29, and everyone acquainted with these works
will be agreed that whatever was lacking here in quantity
is more than atoned for in quality. These sonatas are
the one in A flat, with an Andante con Variazioni, and
containing that majestic " Funeral march on the death of
a Hero," dedicated to Prince Carl von Lichnowsky ; the
two — one in E flat, the other the charming " Sonata quasi
una Fantasia" in C sharp minor, or " Moonlight" Sonata
as it has come to be called ; while op. 2 8 is the one in D
— the "Pastoral,"2 dedicated to Joseph Edlen von Son-
nenfels. Every pianoforte player knows them so well that
remarks concerning them would be supererogatory. It
may not be out of place to observe in respect to the second
of the sonatas forming op. 27, that it was published in
March 1802, and is dedicated to the Countess Giulietta
Giucciardi;8 also that much of the romance that has gathered

1 " The Men of Prometheus " is the title of the English edition.
The autograph score is lost.

J Cranz, the Hamburg publisher, so named this Sonata.
8 See " Beethoven — the Man," page 72.

148

' Second ' Symphony

round the work is wholly fictitious. It probably derived its
imaginary title from a critic1 likening its first movement to
a boating experience on the Lake of Lucerne by moonlight.

Most admirers of Beethoven's chamber music are
familiar with the Quintet in C, a great favourite with
Monday Popular Concert audiences. This quintet, like
op. 3 and unlike op. 16, is entirely for strings, and is as
fresh, striking, and free as any work that ever fell from
the master's pen. Another remarkable characteristic of
Beethoven's, namely, that of availing himself of every
theoretical ingenuity, asserts itself constantly in this work.2

The year 1802 was not very fruitful, the Symphony
No. 2 and the Sonatas for Piano and Violin, op. 30,
being the chief outcome. There were causes which
explain this. It was at this time that Beethoven's deaf-
ness began to be really serious, and when he was in that
state of mental and physical depression that led him to
pour forth that almost heart-breaking epistle, his so-called
" Will," dated Heiligenstadt, October 6th.

This Second Symphony 3 belongs to the composer's

1 Rellstab.

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149

Beethoven

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earlier productions, when the restraints of
<-, , education were still bridling him; neverthe-

less, it literally teems with the fire of his
imaginative genius. From first to last there is not a
tinge of suffering reflected in its glowing pages. Un-
satisfactory as was the state of his mind and body at

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150

c Second ' Symphony Scoring

this time, not a vestige of this is apparent throughout the
score — the whole effort being as fresh and vivid a concep-
tion as Beethoven ever perfected. Distinctly a great
advance upon the Symphony in C, both in extent and
treatment, it is more orthodox than some of his later
writings. Nothing could be more beautiful than its
Larghetto in A major, the opening bars of which are
appended; while in fancy and vigour the Scherzo and
Trio would be difficult to beat even in Beethoven
himself. The work made its first appearance at the
concert already alluded to when the Mount of Olives

Allegro motto. (152 — a).

In D Major, op. 36, dedicated to Prince Carl Lichnowsky, and
scored for the following instruments : —

Flutes 2

Oboes 2

Clarinets in A . . . 2

Bassoons 2

Horns in D . . . . 2

Trumpets in D . . . . 2
Drums in D and A ... 2

Violins 1st and 2nd

Violas .

Violoncello e Contrabasso

Beethoven

was produced. It was generally disliked, that is by the
critics, who found it to be too abstruse, more or less
beyond comprehension, and inferior to the Symphony in
C. This is not the opinion to-day, when its abounding
wealth of beauty, fire, and strength have won for it the
reputation of being, on the whole, the most interesting,
though not perhaps the greatest of the set.

Beethoven was still not quite Beethoven in this Sym-
phony ; a reservation which cannot be made regarding
the three Sonatas in A, C minor, and G major, for piano-
forte and violin, belonging to this year, No. 3 of which is
fairly familiar to English audiences. In this composition,
Beethoven appears to us as he has never shown himself
before — Beethoven the Ungoverned. No stronger land-
mark stands out along the composer's artistic course than
this opus 30, dedicated to Alexander I., Emperor of
Russia. Not altogether henceforth, it may be, but for
the while, Beethoven has parted company with Haydn
and Mozart, and given us in these Sonatas a trinity of
undisputable individualism, wherein the working - out,
poetic import and ensemble, generally, convince the
hearer that it is music from one who has penetrated
a new and hitherto unexplored sphere. That logical
development of every idea which forms such a remark-
able feature in the pure Beethoven is strikingly apparent
in these Sonatas, and is so emphatic that opus 30 may
surely be pointed at as the moment when Beethoven
finally threw off the restraint of influence and became
his real self in composition.

Of all the sonatas of Beethoven for the pianoforte and
violin, the " Kreutzer," so called, is unanimously pro-
nounced the finest, and that it is the most effective is

152

Kreutzer' Sonata

equally admitted. This Sonata in A, op. 47, with three
piano Sonatas, op. 3 1, belongs to the year 1 803.1 Strangely
enough, if we are to credit the story, it was little more
than an accident which has given Kreutzer his im-
mortality. Beethoven had originally intended to dedicate
this work to Bridgetower, the black fiddler, and protegt ol
George IV. Before the sonata was finished, however, the
composer and violinist had a quarrel about a young lady.
Bridgetower's name was erased from the title, and the
name substituted which it will now bear as long as music
lasts. There is little doubt that it was com- „ ~ „

posed specially for Bridgetower, who per- <-,

formed it at a concert in the Augarten Hall,
Vienna, with Beethoven at the piano, on the i;th May
1803 ; so that the composer could not have been very
deaf at this time. Bridgetower played from the auto-
graph, which, with its blots and blurs, must have been a
puzzler. However, all went well, and although Beethoven
had to fill in the piano part as he went along, his playing,
especially of the Andante, was so admired that there
was an unanimous demand for an encore. That the
"Abyssinian Prince," as the violinist was nicknamed,
performed not indifferently is also evident. It was this
probably that commended him to the composer, and

1 These are the Sonatas in G, D minor, and E flat — Nos. 16, 17,
and 1 8 in the Peters' edition — which if simple as works, yet literally
teem with Beethoven points and characteristics. Nageli of Zurich
was the original publisher who took upon himself to interpolate four
bars into Beethoven's music in the G sonata, and so published it.
Naturally, the composer stormed and raved as only he could, and
rewarded the publisher with no more opportunities of publishing for
him.

Beethoven

on one occasion at least saved him from disgrace. He
ventured to alter one passage in Beethoven's presence.
This risky experiment of " improving " upon the original
happened to come off all right. Beethoven rushed up
to Bridgetower, threw his arms round his neck, and
exclaimed, " Once more, once more, my dear fellow ! "
The general plan and character of this sonata deserve
a careful thematic analysis, but, unfortunately, our one
volume limit renders this impossible. Suffice it to say
that from the first bar of its Adagio sostenuto down to its
spirited Finale it is a display of ever increasing interest,
replete with beauty, brilliancy, and animation, the whole
wrought out in Beethoven's best and most ingenious manner.

With 1804 three of Beethoven's especially notable
works — works of now universal fame — came to light,
viz. the "Eroica" Symphony, the "Waldstein" op. 53,
and " Appassionata " op. 57, Sonatas.

The " Eroica " x was Beethoven's Third Symphony. It
was completed in August, and first performed privately
at Herr von Wiirth's house in January 1805, and publicly
at the An der Wien Theatre on April 7th, 1805. It was
not, as we have seen, its composer's original intention to

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154

' Eroica ' Symphony

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Finale : Allegro molto. (76 — C2 ).

In E flat, op. 55, dedicated to Prince Lobkowitz, and scored for
the following instruments : —

Flutes 2

Oboes 2

Clarinets 2

Beethoven

inscribe it as we see it. Imbued as he ever was with a
startling energy of purpose, the master sat down to write
a special work — a work wherein its composer is un-
doubtedly on that new road1 which he declared to his
friend Krumpholz in 1802 he intended for the future
to take. In every feature it is a great advance upon

Bassoons 2

Horns ..... 3

Trumpets 2

Drums 2

Violins 1st and 2nd

Viola

Violoncello

Basso

- Mendelssohn was not of opinion that Beethoven struck out any
" new road " — " the idea of a new road," he said, " never enters my
head." On the whole, the composer of the Elijah was disinclined to
award too high tribute to Beethoven — even the last period works, the
Quartets, Mass in D and Ninth Symphony, which many take to be
the loftiest of his utterances — were jealously located by Mendelssohn.
" Beethoven's forms," he says, "are wider and broader ; his style is
more polyphonic and artistic ; his ideas are more gloomy and melan-
choly, even where they endeavour to assume a cheerful tone ; his
instrumentation is fuller ; he has gone a little farther on the road of his
predecessors, but by no means struck out into a new path. And, to be
candid, where has he led us to ? Has he opened to us a region of art
more beautiful than those previously known ? Does his Ninth
Symphony really afford to us, as artists , a higher enjoyment than
most of his other Symphonies ? As far as I am concerned, I confess
openly that I do not feel it. It is a feast to me to listen to that
symphony ; but the same, if not a purer feast, is prepared for me in
the Symphony in C minor." All this is scant, studied praise and
narrow criticism on Mendelssohn's part.

Fidelia

its predecessors, and is generally allowed to be from
beginning to end the composer's " impres- „ ,., . „
sions " of Buonaparte. Its great length has <-, , '
always attracted attention, which the composer * *

himself seems to have anticipated, judging from his note
of warning that it should be played " nearer the beginning
than the end of a concert." A wit of the day attending a
performance of it was heard by Czerny to exclaim, " I'd
give a kreutzer if it would stop ! " But its length in no
degree lessens its orchestral magnificence, or stems ad-
miration for the grand themes, astonishing transitions,
tremendous tours de force, exquisite revelations in melody
and much more that tends to make it a dangerous rival
even of the "Ninth" itself. It was not always so re-
garded however. Its first rendering drew forth anything
but favourable criticisms — one going as far as to describe
it as "a daring, wild fantasia of inordinate length and
extreme difficulty."

Its famous Marcia Funebre is probably the most
wonderful example of its kind ; and if one more feature
may be mentioned it is the Scherzo — the humorous jovial
form which Beethoven evolved out of the Minuet and to
which he gave perfect shape and character as well as a
permanent place in the symphony. Few landmarks in
musical history are more striking than the advance shown
between the D Symphony and the " Eroica."

We come now to Fidelio or Wedded Love, op. 72 — the
product of 1805, in which year the Concerto in G, op. 58
and three Quartets, op. 59 saw the light. This was the
year when the French occupied Vienna — though that
does not seem to have greatly concerned the composer,
and composition went on at the same rapid rate as

157

Beethoven

before. The Concerto is the fourth which Beethoven
wrote for the pianoforte and orchestra. Designed as it
is to show the skill of the executant in concert with an
orchestra, its composer experienced not a little trouble
with his executant in this instance. This was his pupil
Ries, who tells the following story : — " One day Beet-
hoven came to me, bringing his Fourth Concerto under
his arm, and said, ' Next Saturday you must play this
at the Karnthnerthor Theatre!' There were only five
days left to practise it in, and unluckily I told him that
the time was too short for me to learn to play it really
,, well, and that I would rather he would allow

. „ me to undertake the Concerto in C minor;1

which also I had played for the first time
with great credit to myself, though not without some
risk. Upon this Beethoven broke into a rage, whirled
himself off, and went straight to young Stein, whom he
generally could not endure. Stein was a pianoforte
player like myself, but older, and he was clever enough
to accept the proposal at once. But he, like me, found
that he could not get it ready, and the day before the
Concert he called on Beethoven to request, as I had
done, that he might play the one in C minor. Having
thus no choice left, Beethoven was obliged to consent.2

1 Beethoven wrote nine works associating pianoforte and orchestra —
the five Concertos proper, the Choral Fantasia, the Triple Concerto,
the Pianoforte adaptation of the Concerto for violin, and the posthu-
mous Rondo in B flat.

2 The concert was on December 22, 1808, and is memorable as
perhaps the most remarkable concert ever given — the programme
including the C minor and Pastoral Symphonies, the Choral Fantasia
and this Concerto ; with the composer at the piano, and the whole
under his direction.

158

Fidelia Presented

However, whether it was the fault of the theatre, the
orchestra, or the player, certain it is that the Concerto
made no effect. Beethoven was very much vexed, the
more so because he was asked on all sides why he
had not allowed Ries to play, who had made so much
effect before — a question which gave me the greatest
delight. He said to me afterwards, 'I thought that
you did not wish to play the G major Concerto.'"

Mozart greatly modified and improved the Concerto,
but Beethoven took it farther and invested it with a
value which makes his examples in this form stand out
from all others — especially in the prominence he gives
to the orchestra — which at times assumes quite symphonic
importance.

Space limits, unfortunately, preclude adequate notice of
the Quartets afore-mentioned. They were the three in
F, E minor and C,1 known as the " Rasoumowsky "
quartets, by their being dedicated to that cultured man.
Like much of Beethoven's other string music, they were
studied by the celebrated string quartet maintained by
Count Rasoumowsky at his palace in Vienna, of
which party Schuppanzigh played the first violin,
Rasoumowsky second, F. Weiss the viola, while Linke
was at the 'cello.

Fidelia, or Leonore, was first represented in the Imperial
Theatre, at Vienna, on Wednesday, November 20, 1805,
and had a run of two following days, when the composer
withdrew it. A more unpropitious moment for introducing
the work could hardly have been selected, since residents
who might have patronised it had fled, and weather-
beaten, if victorious, Frenchmen were hardly likely to

1 7th, 8th, and gth.
159

Beethoven

sally forth to hear a German opera ! Beethoven, how-
ever, was never to be deterred, and on the
Fidelia stage the work went. The composer had

experienced frightful difficulties in the re-
hearsals— the singers complaining that the parts were
simply unsingable, while the bandsmen " bungled " their
music so much that Beethoven declared it " was done on
purpose."

This, as is well known, is Beethoven's only opera ; he
wrote no second because he could not succeed in rinding
a libretto l of a sufficiently elevating and moral nature to
induce him to devote himself to another work for the
dramatic-lyric stage. Unhappily, when first performed,
the great beauties of Fidelio were not appreciated. Its
ideal characteristics, its true and touching expression, its
noble form and pure style, its elevated and impressive
tone, all failed to insure success. In 1806, he revised
the work for a fresh performance, reducing the three acts
of the opera, as originally played, to two as now, and
using the Overture, No. 3, in place of No. 2. This
revision was a serious affair. By way of accomplishing
this delicate matter, his friend Prince Lichnowsky invited
him, with the authors of the new libretto^ and two
celebrated singers, Roeckel and Meyer, to try over the
opera at his house, in order to discuss the necessary
changes. Beethoven at first would not yield a jot. He
defended his music inch by inch, bar by bar, keeping his
temper, however, better than might have been expected.
But when Meyer gave his opinion that several entire
pieces must be cut out, such as the principal air in the
part of Pizarro, to which, he said, no singer could give
1 The libretto of Fidelio is based upon Bouilly's Letmore.
1 60

Leonora ' Overtures

effect, the composer burst into a passion and abused the
whole company most outrageously. His friends at last
succeeded in pacifying him, and he agreed to give up the
air, for which he afterwards substituted the powerful com-
position which now stands in the score. Once brought
into a complying mood, Beethoven became tolerably
tractable, and at length everything was settled to the
satisfaction of all parties. This trial, and the disputes
to which it gave rise, lasted from seven o'clock till two
in the morning, when the prince ordered supper to be
brought, and this laborious night was concluded with
great gaiety and good humour.

Beethoven had the gratification of once hearing Fidelio
rendered to his satisfaction. This was when it was
revived at Vienna, in 1822, for Mdlle. Schroder. The
composer was present, and sat behind the conductor so
enveloped in the folds of a thick cloak that only his
flashing eyes could be seen. After the performance
he praised the young cantatrice, smiled, and patted her
on the cheek, and promised her another opera.

Those deservedly famed Overtures, known as the
" Leonora," are associated with Fidelio. Beethoven
wrote four of them. There is no doubt that upon one
of these — No. 3 in C — Beethoven lavished all the wealth
of his genius, giving us a work which, apart from any
consideration of the opera, forms a concert-piece unsur-
passed in the whole range of orchestral music — a work
which stands out from its kind, a unique thing — unique
in the grandeur of its conception, the profundity of its
expression, and in the power with which the highest

^sources of art are utilised to work out the noblest

ssults.

Beethoven

The revised Fidelia did not occupy Beethoven alone in
1806. There were other works — the Violin Concerto in
D, op. 6 1, and the Fourth Symphony1 issued to the

_, ,, world. The top of the front page of the

Fourth • • i r 4-u-

~ , original manuscript of this symphony is thus

* ™ inscribed in the author's hand, with the

curious and not infrequent contraction of his name : —

" Sinfonia 4ta. 1806. L. V. BTHVN."

This is fortunate, inasmuch as no sketches of the par-
ticular work have yet been forthcoming ; and, despite
its artistic import and worth, so widely different is it from
the " Eroica" and C Minor, that but for this inscription
its place in the great series might be seriously questioned.
As far as its history can be traced, it appears to have

Allegro vivace. (80 — Q).

162

' Fourth ' Symphony

been the result of a contract which the composer entered
into with Count von Oppersdorf for a symphony, the fee
for which was to be 350 florins G£i8, 73. 6d.). The
first hearing of the work was at a subscription concert for
Beethoven's benefit, held at Prince Lobkowitz's, in March

Adagio,

Allegro vivace. ( roo — d )

Beethoven

1 807, at which it is stated his three earlier symphonies
were also performed, with other of his works ; and yet
we are told that the Vienna public of the time were in-
different to good music. It was played at a more
public concert on the isth November following, and was
published in iSog.1

The most striking characteristic of this Symphony2 from
first to last is its ease, grace, and spontaneity. The
composer seems to be performing a simple task "off

Allegro ma non troppo. (80 — d. ).
S

1 By the Bureau des Arts et d'Industrie, Vienna.

2 In B flat Major, op. 60, dedicated to Count von Oppersdorf, and
scored for the following instruments : —

Flute I

Oboes 2

Clarinets in B . . . 2
Bassoons .... 2
Horns in B basso ... 2
Trumpets in B . . 2

Drums in B and F . . 2

Violins 1st and 2nd

Viola

Violoncello .
Contrabasso . . .

164

Happy Mood

the reel." Whether this was so, and whether it was the
limit to which he cared to go in the shape of a symphony
that would meet his contract with Oppersdorf, must
remain a mystery. Or, there is another theory. It
might have been in the composer's mind an undesirable
undertaking to follow the " Eroica " with such another
heavy work as the next — the C Minor — without a
" steadier " between them.

The work of the composer will always be more or
less the mirror of his inner self; and unquestionably we
find the state of Beethoven's mind reflected both in this
Symphony and the Concerto in D. The fact is, Beet-
hoven was fairly at ease. His friend Breuning had quitted
Bonn and settled in Vienna. "To my great comfort,"
he writes to Pastor Amanda, " a person has arrived here
with whom I can enjoy the pleasures of society and
disinterested friendship — one of the friends of my youth
(Stephen von Breuning)." In a letter to Wegeler he
observes, " Stephen Breuning is here, and we are together
almost every day ; it does me so much good to revive old
feelings. He has really become a capital good fellow, not
devoid of talent, and his heart, like that of us all, is
pretty much in the right place." Beethoven, therefore,
dedicated the Concerto to Breuning, and it, like the
Symphony, shows him in one of his most cheerful,
humorous, and vigorous moods. His song is a paean
of real loveliness. No trace of hesitation or studied work
marks the score from beginning to end, but the whole is
one long exuberant expression of all that is graceful,
beautiful, and exhilarating. Lighter and less profound
than the " Eroica," it undoubtedly presents the same man
and mind again, only both are in a changed, happier

165

Beethoven

mood. The working-out is still Beethoven's, and there
is no shadow of retrogression in style ; it is rather some-
thing more ideal, more tenderly classical that emphasizes
itself and stamps this work particularly.

For a while its mighty composer seems to have set
aside his burden of passionate, pent-up emotion, and
given us a tone-picture which makes every heart rejoice
to feel that the fires, apt to burn so furiously within his
breast were at remote moments quenched from a fount
of will that enabled him to speak to us with all the
sparkle, vivacity, and enjoyment of some youthful mind.
Where, in the Adagio,1 Beethoven is passionate, it is the
emotion of unbounded joy — not of sorrow, suffering,
or unrealizable aspiration. Indeed, he was happy !
His love-letters of this year prove it.2 That Beethoven's
intimate friends were gratified with the surprising beauty
and gaiety of the work on its first unfolding, we may be
assured. Nevertheless there were malcontents, and none
more heated than Weber, sixteen years his junior — then
more critic and conductor than composer. Ordinary
conditions fail to portray his horrible experiences ! The
effect was as of a bad, frightful dream, from which, when
the slumberer awakes, the dreadful alarm is lest he was
" on the road to become either a great composer, or —
a lunatic." 8

1 Of one of its melodies Berlioz declared that " the being who
wrote such a marvel of inspiration was not a man."

2 Beethoven was engaged to the Countess Therese, sister of his
friend Count Franz von Brunswick, in May 1806.

8 Rather a bad return this for the welcome Beethoven gave Weber
on their first meeting, when the former said good-humouredly, "There
you are, my man ; you're a deuced clever fellow ; God rest with you ! "

166

' Fifth ' Symphony

Still the work of composition went on, and this with a
ipidity which must seem startling nowadays when the
mouncement of any new score of promise from our
lusicians, even once in a decade, comes quite as an
event. The Coriolan, op. 62 and Leonora, No. i Over-
tures, and the Mass in C — to which latter reference will
be made later — belong to 1807. The following year was
even more productive since it gave us the Fifth and
Sixth Symphonies, the Trios for Pianoforte, Violin and
Violoncello in D and E flat, op. 70, and the Choral
fantasia, op. 80.

The " Fifth " Symphony1 is verily a majestic and forcible

1 Allegro con brio. (108 — e2).

167

Beethoven

composition ; indeed, so massive is it that one is tempted
_. ,,, to doubt that one hand and brain would be

equal to the exposition of such a prodigious

Symphony

mental and physical enterprise. But, although

the autograph of the work bears no date, we know this
"the most splendid symphony ever written" to be true
Beethoven work. Every bar tells us so. To sit and
listen to it with rapt attention, is like a transport to some
umbrageous forest. Theme after theme appears only to
stretch out — like the far-reaching arms of the giant trees,
until we seem surrounded on all sides with a gorgeous
covering of innumerable forms and colourings which can
only be matched by Nature when found in all her autumnal
loveliness and lavishness amid the solemn loneliness of
some thickly wooded scene. Surely in all music there
cannot be found a work more titanically noble, more
inspiring, more impelling and convincing than this sub-
lime tone revelation ; yet, on its first hearing,1 it was
laughed at — even the orchestra laughed at the first
movement ! To-day, however, it is played more fre-

Allegro.

{ Q . b n

(96-ol).

-P-

^-^

1 F

—

«_u

—

^ —

}

-e- t"

C^ "

iff

Z5 I

•

>•

^ft-kJ:

•

1 At Beethoven's concert in the "An der Wien" Theatre, on
Thursday, December 22nd, 1808, when the "Pastoral" was also
produced.

168

Fifth ' Symphony Score

quently than any other symphony; every music lover
revels in it, and it is of itself capable of filling a concert
hall. No work that the composer ever wrote reflects so
well the master as this,1 whether we consider its technical

Allegro. (84

1 In C Minor, op. 67, dedicated to Prince von Lobkowitz and Count
von Rasoumowsky, and scored for the following instruments : —

Flutes .

Oboes .

Clarinets in B

Bassoons .

Horns .

Trumpets .

Drums in C and G

Flauto piccolo

Trombones .

Violins .

Viola .

Violoncellos . „

Basses and Contra fagotto .

169

2
2
2
2
2
2
2
I

Alto, Tenor, Bass
1st and 2nd

Beethoven

or emotional characteristics. If it amazed its first per-
formers by the novelty of its style, it still more amazes
music-lovers of to-day by reason of its poetic grandeur
and transcendent qualities in every direction.

MS. from A flat major Sonata, Op. 26.

Little wonder that so keen a judge as Berlioz saw in
it a subject for ecstasy : — " The Symphony in C minor,"
he writes, "seems to us to emanate directly and solely
from the genius of Beethoven. It is his inmost thought

170

Love Wrench

that he is going to develop in it; his secret griefs, his
concentrated rages ; his reveries, full of such sad heavi-
ness, his nocturnal visions, his bursts of enthusiasm, will
furnish his subject; and the forms of the melody,
harmony, rhythm and instrumentation will show them-
selves as essentially individual and new as endowed
with power and nobleness."

Happily, too, all this intellectual force is far from
past understanding to-day. The man Beethoven is
understood, and so are his musical manners. Hence
it is that this work has triumphed gloriously and come
to be the best loved of all the composer's vast orchestral
undertakings. There is no need for the master to furnish
a clue to his intentions in this symphony. It is the whole
story of his love experiences, his exaltations and his
crushings, which were to culminate in a wrench which he
hardly dared contemplate. Yet a voice within warned
him that the Countess The"rese was not destined to be
his. Fate was against them, though engaged. What an
index of the end is that ominous unison phrase of four
notes : —

No. i.

P Str. ^ -r

-&c.

Beethoven

" What do they mean ? " the composer was once asked.
Beethoven answered, " Thus Fate knocks at the door ! " 1
And how the composer keeps Fate knocking throughout
this symphony !

Passing by, as limits of space compel us to do, the
splendid Trios in D and E flat, op. 70 for Pianoforte, Violin
and Violoncello — which were composed in 1 808, published
in April and August respectively, and dedicated to Countess
Marie von Erdody — we come to the Sixth Symphony
— the " Pastoral." 2 Here we are confronted with an

1 The engagement was put an end to by Beethoven himself in
1810; and the Countess returned him his love-letters.

2 Allegro ma non troppo. (66 — G/).

Andante molto moto. (50 — J ).

172

' Sixth ' Symphony

extraordinary and most influential masterpiece. "The
man who listening to the Sinfonia Pastorale," says a
great writer, "cannot see the beautiful landscape, sit
down beside the brook, dance with the C'-A

peasants, get drenched through and through

^ j
with the storm, and give thanks to God

when the rainbow first gleams in the sky, must be dead
alike to every sense of Poetry and Art." x

Without a word of warning Beethoven forsakes humanity
and strikes deep into the universe of Nature in this
symphony. He had a very passion for the country

Symp}iony

Allegro, (i

08— Q).

f IT O *

^ • m \ •

•

ZL IT *F i>s

1* • ^

vjr T~

r 1 LI

PPf

1 r^r r

&c.

<£»V 1

—

(W i. J> S.

i i- '

^^"b £

-L

Allegro.

Vno. 2.

&c.

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r"fr^ — ^-— , -*pa H—^a — ~^f~

v- ; — ^E ^5 ^^5 ^5 —

Tiassi. ^^ ^^ ^^ ^^

1 W. S. Rockstro, "Dictionary of Music and Musicians," vol. iii.
p. 292.

173

Beethoven

and its fields and lanes resonant with the matchless
music of the feathered wildlings. All this brought to
his strenuous life that change and retirement that he
loved so well, and in the present score we get in no
mean form the impressions which such rural experience
afforded him. Indeed, when this Symphony1 was first
performed 2 it was announced in the programme as " Re-
collections of Country Life." The panorama displayed

Allegretto. (60— J ).
Clar.

1 In F Major, op. 68, dedicated to Prince von Lobkowitz and Count
Rasoumowsky, and scored for the following instruments : —

Flutes 2

Piccolo I

Oboes ..... 2
Clarinets in B . . . 2

Bassoons 2

Horns in F 2

Trumpets in C . . . 2

Drums ..... 2
Trombones, .... Alto and Tenor

Violins ist and 2nd

Viola

Violoncelli

Contrabasso

2 At the concert already alluded to on December 22nd, 1808.

174

' Pastoral ' Symphony

(a) The awaking of cheerful feelings on arriving in the
Mintry (allegro) ; (ft) Scene by the brook (andante) ; (c)
Merry gathering of the country people (allegro) ; (d) Storm
id Tempest (allegro) ; (<?) Herdsmen's song ; Blithe and
thankful feelings after the tempest (allegretto) ; with all of
which scenes the illustrious musician was lovingly familiar.
That he has here depicted them with unerring fidelity
id in grandly complete colouring is attested by the
unanimous voice of all civilised countries. " The world,"
we have been told, "owes much to Beethoven, and it
may be that the most formidable item in the account
refers to the 'Pastoral Symphony.'"

Beethoven's contemporaries were not all admirers and
adherents, so that he was ever cautious not to overreach
nimself or lay himself open to the charge of attempting
something that he did not fulfil. Thus he prefaced
this work with the warning that it was a record of
impressions rather than a representation of facts. It
furnishes us with one of those extremely rare occasions
when Beethoven deigned to give any clue to his musical
intent; and it is unlikely that he would have done so
in this instance except to be on " all fours " with his critics. •
Like all his writings, the 'Pastoral' Symphony is no
mere word-painting, or illustration of concrete things,
Beethoven was above such commonplace craft — but
actual soul, expression and emotion, the intent of which
was invariably known only to the composer himself,
although the world is slowly unravelling it all. In the
'Pastoral' therefore, Beethoven is not persevering in
a struggle to imitate the actual sounds and objects
of Nature but rather to inspire the feelings which a
great storm or fair landscape would evoke within us.

T7S

Beethoven

This was the legitimate relationship of his art to
exterior things, and beyond it Beethoven would not
move.

How totally different in atmosphere, colour, theme
and treatment this delightful work is from anything
that preceded it is known to every lover of the master.
Save the terror and amazement compelled by the Storm,
the entire symphony is sweet simplicity itself. Here is
the unaffected and natural theme of the "cheerful im-
pressions movement " : —

here the opening of the movement which affords
the mental impression caused by the murmur of the
brook : —

L &c.

The third movement covers the grandest of all tem-
pests recorded in music. The flash of lightning, the roll
of thunder, the beating of hail, the discordant cries of
terrified creatures, are all vividly obvious. Most striking,

176

e Pastoral ' Symphony

too, is the gradual cessation of uproar after the tre-
mendous climax in which the trombones, hitherto silent,
lift up their strident voices. Charmingly is the idea
of a return to calm and sunshine brought home to
us : —

Ob.

&—*Fi=&s==j=t

I g>— t

Fl.

After a while the villagers can emerge from their places
of shelter

then comes the fit and proper expression of gratitude and
M 177

Beethoven

thanksgiving for escape from the terrible possibilities of
such an outburst of Nature's power ;

&c.

until the work concludes in an ideal Heaven.

The popularity of this Symphony is now boundless,
yet at first it met with tardy acknowledgment. It was
objected to — even sneered at in Germany — and a set
of parts exist containing extraordinary excisions, especially
in the slow movement, to show that its mutilation even
was considered necessary before it could be fitly placed
before the comprehension of an old-time London music-
hearing audience. This is to be particularly wondered at
in the case of a brilliant work where an exception to the
usual treatment meted out to the master's works on their
appearance might presumably have been expected. Yet
no. The " Pastoral " was neither appreciated nor under-
stood. Notwithstanding the extreme simplicity of the
musical means employed throughout — always excepting
the Tempest scene — despite the fact that there is no
exertion after scholarship and learned contrapuntal show
— all of which may be said to be the technical speciality
of the " Pastoral " ; albeit the composer had gone out of
his way to present a sort of programme of the music —
this beautiful work at its first performance, and long
afterwards, failed to arouse enthusiasm. When Beethoven
produced it on that memorable cold December day in

178

Fresh Publisher

1808, there was one friendly auditor only, Count Viel-
horsky, in the scanty audience ! The master's grandly-
rounded conception was " caviare to the general."

Three years later it was performed in London ; l and
subsequently (June 5, 1820), the Philharmonic Society
maimed and performed it. Again it was condemned by
critics and hearers alike. The Harmonicon was then the
musical organ, and its writers also long found fault with
the Symphony. It was " too long," " a series of repeti-
tions," and " could only," forsooth, " be listened to by
enthusiasts without some feeling of impatience." Yet
to-day every bar of it is appreciated. We of the ending
nineteenth century can well be thankful. It is one more
instance of our improved times, and of the vast intel-
lectual strides which have been made during this Victorian
era — especially in the direction of music.

1809 was a stormy year. The battles of Aspern and
Wagram had led up to the second French occupation of
Vienna, so that the Austrians could make no further head
against Napoleon. One man at least was not dismayed.
This was Beethoven. The year 1809 proved ~

the most remarkable, perhaps, in his life; „ .
since he was not only active with his pen,
but, what was rare with him, he devoted such time and
thought to business matters that an arrangement was
come to with Messrs Breitkopf & Hartel henceforth to
publish for him.

The Concerto for Pianoforte and Orchestra in E flat —
the fifth — op. 73 ; the Quartet in E flat — the tenth —
op. 74; the Pianoforte Sonata in F sharp, op. 78; and

1 At Mrs Vaughan's Benefit concert, Hanover Square Rooms
May 27, 1811.

179

Beethoven

the lovely Sonata, " Les Adieux, 1'Absence, et le Retour,"
op. 8 1 a, with some lesser works, all belong to this year.
Every admirer of Beethoven's music is familiar with them,
and will readily endorse our statement that whatever
disturbing influences were at work in Vienna when
Beethoven completed these delightful compositions, no
traces of external discomfort mark any single bar.

The following year brought forth the music to Goethe's
tragedy olEgmont, op. 84 ;l the Quartet in F minor — the
eleventh — op. 95 ; and some small military pieces. In
1811 Beethoven spent the summer at Toplitz, and the
world became the richer by the Trio for Pianoforte,
Violin, and Violoncello, in B flat, op. 97 ; the "Ruins of
Athens,"2 op. 113; the "King Stephen"3 music, op. 117,
and more.

1812 was again a busy year. Though Beethoven's
health was bad, and he was ordered the baths of
Bohemia, he journeyed a good deal, visiting Toplitz,
Carlsbad, Franzensbrunn, and Linz. Withal, composi-
tion went on apace, so that the fruits of this year in-
clude the " Seventh " and " Eighth " Symphonies, and the
Sonata for Pianoforte and Violin, op. 96.

1 First performed May 24, 1810.

2 For Chorus and Orchestra. Words by Kotzebue. Produced at
the opening of the New Theatre at Pesth, on February 9, 1812.
First performed in England at the Philharmonic Society's Concert of
July 8, 1844, when Mendelssohn, who conducted, had brought over
MS. copies of the K Ruins of Athens " with him. This Society
bought the Overtures " Ruins of Athens," " King Stephen," and op.
115, for £78, 155.

3 Overture and nine numbers. First performed on February 9
1812.

I So

* Seventh ' Symphony

The "Seventh" Symphony1 is another of those match-
less masterpieces which lend their brilliant dramatic qualities
and beauty to make Beethoven's name immortal. Some
four years separate it from its predecessor, the " Pastoral,"
and truly the effluxion of time shows its traces here.

1 Poco sostenufo. (63 — J).

Beethoven

Beethoven is in his Romantic mood, so that this creation,
if it required an identifying title, might well be christened
Beethoven's " Romantic " Symphony. Indeed, no less
an authority than Sir George Grove has already set down
a similar reading of it. " It is not in any innovation on
form," says this great judge, "or on precedent of arrange-
ment, that the greatness of the ' Seventh ' Symphony
consists, but in the originality, vivacity, power, and beauty

Allegretto. (88— J^).
Ob.Cl.

Fag. Corni. P

Presto. (116— Q).
Fl. in 8va.

yth Symphony Instrumentation

of the thoughts and their treatment, and in a certain
new and romantic character of sudden and unexpected
transition which pervades it, and which would as fairly
entitle it to be called the ' Romantic ' Symphony, as
its companions are to be called the ' Heroic ' and the
' Pastoral.' " *

Allegro con brio.

(8o— c!).

In A Major, op. 92, dedicated to Count von Fries, and scored for
the following instruments : —

Flutes .

Oboes .

Clarinets in A

Bassoons

Horns in A .

Trumpets in D
Drums in A and E

2
2

Violins .

ist and 2nd

Viola .

Contrabasso .

1 " Beethoven and his Nine Symphonies," p. 240.

183

It is a work of tremendous import indeed. Nowhere

has Beethoven given us more of himself
Seventh i_l_n
~, , intellectually than m this score, and that

* * at a point where his great soul and intellect
have ripened to full maturity. Every experience of an
artist's life had been his ; his unexampled musical
imagination and faculties had expressed the profoundest
utterances ; his vast conception and understanding of
Music's province had provided manifestations, objective
and subjective, which would have satisfied mankind —
all this, yet such was the glorious scope of his poetical
imaginative reason, that he could see even more ! And
this "Seventh" Symphony transports us into this new
region — a region where Beethoven makes a fresh stand.
To express the every subtlety of the human breast, to
bring before our very eyes the most awful as well as the
most beautiful extremes of Nature's kingdom was not
enough. This master of masters would give the world
the psychological moments of his personal, mental
kingdom. Material reflection was little more to him
while there lay before him such a modification of
musical process as the expression of his most secret
mind and imaginative aspiration. It is scarcely sur-
prising that a flight so daring and unparalleled made
men then and since wonder. As was his custom, not a
word escaped Beethoven during the composition of the
"Seventh." The Viennese knew of it only when they
first heard it in the University Hall of Vienna on
December 8th, 1813, at a charitable concert.1 And
what enthusiasm it aroused ! At last the Viennese
showed signs of appreciation, which so gratified the
1 The famous concert in aid of the wounded soldiers of Hanau.
184

Sublime Art

composer that he wrote a letter of thanks to the press.1
More performances of the work were soon given,2 since
which time the Symphony has won the suffrages of
musicians all over the universe. It did not, of course,
at the outset wholly escape dissentient criticism. Weber
averred that it fully qualified Beethoven for the mad-
house— musicians do love one another; and others who
early heard it arrived at the conclusion that its first and
last movements could only have been written by a dipso-
maniac ! It certainly would be interesting to know what
impressions were aroused in the minds of such acrimoni-
ous critics by the lovely Allegretto in A minor, and the
original, vigorous, Minuet and Trio when they were new
to the world. Tempora mutantur. To-day the A Sym-
phony is unanimously regarded as highly as any mortal
man's work can be regarded — not that its form differs
from that of its predecessors, but on account of its ideal
and spiritual qualities, and the ever-present fact that its
absence from among the immortal nine could only be
equalled by the disappearance of Hamlet or Macbeth in
literature. " We cannot tell," wrote one who has passed
to the Eternal Habitations, " no human tongue can tell in
words the meaning of the wonderful Allegretto (of the
Symphony in A).. No language can express the depth
of thought enshrined in that awful episode in the delici-
ous Scherzo, universally recognised as the highest mani-
festation of the Sublime as yet afforded by the art-life of
the nineteenth century. But we can understand it. It
speaks to us in accents far stronger than words. And, in

1 Wiener Zeitung:

* On January 2nd and February 27th, 1814. First performed in
London at the Philharmonic Society's concert of April 3rd, 1826.

I85

Beethoven

listening to it, we are brought into closer communion with
the composer's inmost soul than we could have gained
through any amount of personal intercourse with him
during his lifetime." l

" One of my best works," Beethoven wrote to Salomon
concerning the " Seventh " Symphony. The " Eighth " 2

1 W. S. Rockstro, "Dictionary of Music and Musicians," vol. iii.
p. 292

2 Allegro vivace e con brio. (69 — Q ).

Allegretto scherzando. (88 — J^).
V.i.

186

' Eighth ' Symphony

ras not held in less esteem by its great composer. When
: l was first performed it met with but little appreciation,

Tempo di Minuetto. ( 126 — J ).

if tf sf sf sf J>

1 In F Major, op. 93. Without dedication. Scored for the following
instruments : —

Flutes 2

Oboes 2

Clarinets in B . . . 2

Bassoons 2

Horns in F 2

Trumpets in F . . . 2

Drums in F and C . . . 2

Violins 1st and 2nd

Violas

Violoncello

Contrabasso

Beethoven

which, however, did not apparently alarm Beethoven.
" That's because it is so much better than the other,"
he is credited with replying!1 The famous " Seventh "
had preceded it at this performance,2 and it might be
thought that the effect of this sublime work detracted
from an adequate realisation of the present Symphony,
had not subsequent audiences shown a decided prefer-
ence for the " A " Symphony. Only four months
separate the creation of the two works, and rather than
P.. , , allow that the genius of the master operator

<-, * , had fluctuated, a better explanation for the

y * ' supposed inaccessibility of this wonderful

work — " a little one," Beethoven modestly styled it ! —
may be found in our stunted musical perception rather
than to the composer's extravagance or his artistic
paralysis.

It was composed at a time when Beethoven was much
worried about his brother's wife and his own ill-health,
which latter forced him to have frequent recourse to doctors
and their methods. Nevertheless, not a shade of this ex-
ternal strain mars the prevailing colour and bearing of this
work, which again is an utterance which stands out from
all that he has hitherto spoken — an expression of intense
significance (whatever its intent and picture is Beethoven
alone knew), and one which the artistic world could not
now spare. It is true that critics of all musical centres
have " budged " at the work, and when performed in
England there has always been variance among those who

1 "Thayer," vol. iii. p. 273.

2 Held in the Redouten Saal, Vienna, on February 27, 1814. Its
first hearing in England was at the Philharmonic Society's concert on
May 29th, 1826.

tit

Remembrances

ight to know as to the tempo and reading of each move-
jnt. In his wonted mysterious procedure Beethoven, in
lis score, hurled a gigantic musical problem at mankind,
aving its solution to us with the prerogative of accepting
or rejecting his work, as we choose. That Beethoven
makes himself evident in the Symphony is never in doubt.
Its features are its beauty — humour and fury ; yet there
is such a masterly command pervading all — such an
extraordinary reality and unmistakable purpose, that all
admirers of the master are the more moved to fathom, if
possible, its purport. That Beethoven had an aim in
composing it (he never wrote listlessly, or as the spirit
moved him, as we say) there is no doubt, and the sooner
we exploit what it all means, what its philosophy is, the
better off we shall be. Many atmospheres pervade it —
sometimes it is as black as night, at others there is the
light of a resurrection morning ; sweet peace distinguishes
it, though this is counteracted at times with terrible fury
— even war. We shall be safe in concluding that it is all
acute fervour of experience that we have here reflected ;
though it is difficult to fix with certainty the exact episodes
in the life that led up to it. But men ruminate and chew
the cud of reflection more keenly, bitterly, and frequently
— though they tell not of it — than women think, and it
may be that Beethoven, who had passed through many of
the severest life-fires, is in this work pouring out the vials
of his remembrances — sometimes seriously, at others in
caricature — before committing himself to a complete
resignation to One who alone could bless him with that
solace that he now needed in this world more than aught
else. One thing is certain. The tenour of the Symphony
is personal, and the person reflected is Beethoven. As

189

Beethoven

Sir George Grove says : " The hearer has before him not
so much a piece of music as a person." x What we have
to decipher is the connection between this music, so
admirably realistic and authoritative in its qualities, and
the incidents to which it relates. At present there is a
mystery here, but increased light upon the man and his
music will surely provide us some day with a complete
elucidation of everything.2

Beethoven's political experiences, if serious and pre-
tentious, were not altogether happy. The early Buona-
parte fiasco was no doubt galling, but retribution came at
length, and the composer — who was fond of declaring
that if he knew as much about war as he did about music
he would lower Napoleon's colours — had an avenging
Nemesis in hand for the audacious, unscrupulous
soldier.

Political events had been going on apace, and while
Beethoven had been spending the summer of 1813 at his
beloved Baden, the news came to Vienna (July 27th,
P IT I I^I3) fr°m tne North of Spain, of Welling-
ton's fortunate victory over King Joseph
Outpour- T, j i_- •»*• u i T

. r Buonaparte and his Marshal — Jourdan.

The composer expressed his satisfaction in
his famous " Battle of Vittoria " piece (sometimes named
the "Battle" Symphony), in honour of June 2ist, 1813.
It formed one of the pieces at that charitable concert on
December 8th, 1813, when the "Seventh" Symphony
first broke upon the world, of which performance

1 " Beethoven and his Nine Symphonies," p. 280.

8 It was not many years ago when Beethoven's Symphony in C
minor was pronounced, here in England, " an absurd piece of non-
sense ! "

igo

' Battle ' Symphony

Tomaschek tells a good story relating to Meyerbeer,
and narrated by Beethoven himself. " Ha ! ha ! ha !
I was not at all pleased with him ; he could not keep
time ; was always coming in too late, and I had to
scold him well ! Ha ! ha ! ha ! I daresay he was put
out. He is no good. He has not pluck enough to
keep time."

" Wellington's Victory, or the Battle of Vittoria," l is an
orchestral piece in two parts — illustrative of the " Battle "
and the "Victory." The music throughout is of an
aggressive, impetuous, martial, yet very effective character,
flavoured with such national melodies as "Rule Britannia,"
"Malbrouk," and "God Save the King." Indeed, it
was in this connection that he wrote his famous words
that the English could not be too sensible of the treasure
they possessed in " God Save the King," unaware of the
fact that it is the national tune of at least one other
European power. Musically, the value of this work is
great, especially as a sample of programme music; but
it arouses little artistic interest nowadays as people know
so little about it. Nevertheless, if grandeur of effect,
originality of invention, and energetic passages, are to be
considered as necessary constituents of that musical com-
pound— an instrumental piece — it is not probable that any
other work of the same length can vie with this specimen
of what a man of genius, and only a man of real genius,
can accomplish when he is determined. In the midst of
all the seeming confusion which the title of this piece
would lead us to expect in the performance of it, there is

1 Op. 91. Known to English readers as the "Battle" Symphony,
and first performed in London at Drury Lane Theatre on February
loth, 1815, and dedicated to the Prince Regent of England.

191

Beethoven

one passage, trifling in itself, but which, from the way it is
introduced, shows the master-hand as fully as the most
elaborate symphony could possibly do. We allude to the
air of " Malbrouk," which is at the beginning of the Sin-
fonia, understood as the national march played by the
French army in advancing, but as the horrid " confusion
worse confounded " proceeds gradually to accumulate, we
are morally certain that the enemy is giving way, they fall
in numbers under the British army, the whole band are
dispersed, and only one fifer is heard attempting to keep
up the fast-fleeting valour of his countrymen by playing
" Malbrouk " ; but the fatigue he has undergone, and
the parching thirst he endures, obliges him to play it in
the minor key — sorrowfully.

It was this piece which Maelzel barrelled for his Pan-
harmonicon — bringing it to England, and making a lot of
money. Unfortunately, he claimed the authorship of the
composition, and this led to one of the law-suits which
marred the later years of Beethoven's life — the other " wig
and gown" experiences bringing him into conflict with
Count Kinsky's heirs, his brother (Carl's) widow, and
Professor Lobkowitz.

Yet another political event of importance — the Congress
of Sovereigns in 1814 — moved Beethoven. Vittoria and
Hanau had both been fought, and there was in view the
apparent termination of the war. Hence the assemblage
of Sovereigns and exalted persons at Vienna. For the
occasion, Beethoven set to work on the Der glorreichc
Attgenblick1 ("The Glorious Moment"), op. 136. It is
a Cantata of six numbers for S.A.T.B., Chorus and

1 Known in England as the " Praise of Music." Dedicated to the
Sovereigns of Austria, Russia, and Prussia.

192

Splendid Activity

Orchestra, with a turgid libretto * by Weissenbach, and was
produced on November zgth. There is some truly charac-
teristic Beethoven work in this score, but, as with several
pieces d'occasion, it does not rank with his happiest work.

"Work while it is day," seems to have been Beethoven's
watchword henceforward, as he entered the darkest period
of a not too felicitous career. Perchance he presaged
what was looming in his immediate future. Whether or
no, he applied himself to composition with astonishing
energy. He re-wrote Fidelio, and presented it again on May
23rd, 1814, while other notable new compositions were
the Pianoforte Sonata in E minor,2 op. 90 ; the Grand
Overture in C, op. 1 1 5 ; 8 the Cantata, Der glorreichc
Augenblick just mentioned ; and some Tournament music.
1815 brought the Pianoforte Sonata in A, op. 101 4; the
Sonatas for Pianoforte and Violin in C and D, op. io2,6
the Meerstille 6 music, op. 112; and his arrangements of
Scotch songs. The Liederkreis we owe to 1816, and
in the following year Beethoven set to work upon the
'Ninth' Symphony. Amid many worries this was carried
over 1817, and was continued through 1818 ; when, pur-
suing his wonted habit of working upon two or three
works at the same time, Beethoven commenced the grand

1 Beethoven revolted against it, but faced the setting, — saying that
the effort was an " heroic one."

2 Dedicated to Count Moritz von Lichnowsky.

3 Dedicated to Prince Radziwil.

4 First performed, February i8th, 1816. Dedicated to Baroness
Dorothea Ertmann.

8 Dedicated to Countess von Erdody.

* Known as the " Calm Sea and Prosperous Voyage " — a Cantata
for S.A.T.B. and Orchestra, with words by Goethe.

N I93

Beethoven

Sonata in B flat, op. 106, and the Mass in D. This latter
work was proceeding during 1820, in which year the com-
poser gave the world the Pianoforte Sonata in E, op. log,1
and in 1821 followed it with another — that in A flat, op. no.

In 1822 Beethoven was at Baden, where there took
place the happy — and too long deferred — reconciliation
with Stephen Breuning, with whom he had been estranged
since 1815. This year he wrote his last Pianoforte
Sonata — the C minor, op. 1 1 1 ; the Overture 2 in C,
op. 124; and completed the D Mass.3 Meanwhile the
' Ninth ' Symphony was not being neglected, though
several matters tended to delay it. All progress was
for a season neglected in consequence of the Rossini
madness; and there were interminable worries over a
new opera which Beethoven wished to compose. At
length the famous Symphony was finished, at Baden,
on September 5th, 1823 — the year to which the "33
Variations on a Waltz," op. 120, also belong.

The ' Ninth ' or " Choral " Symphony 4 is the last of

1 Dedicated to Fraulein Maximiliana Brentano.

2 "Weihe des Hauses." Written for the opening of the Joseph-
stadt Theatre, and dedicated to Prince N. Galitzin.

3 On March igth.

* Allegro ma non troppo, un poco maestoso. (88 — J .
V. i. S

6^-6

Basso.

194

' Ninth ' Symphony

the great chain of instrumental masterpieces in the highest
form of orchestral manifestation that Beethoven gave to

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195

Beethoven

the world. This creation, as gigantic as it is sublime, is
the completed work, sketches for which — of the Scherzo

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196

Crowning Glory

id First Movement for example — are met with as far
ack as 1813 and 1816. It1 is the crowning glory of the
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r r

1 In D minor, op. 125. Dedicated to the King of Prussia,
although a MS. copy of the Symphony is in the possession of the
Philharmonic Society of London inscribed to it, and for the use of
which MS. for eighteen months the Society paid ^50 to Beethoven.
It is scored for the following instruments : —

Flutes . . . ' . . 2

Oboes 2

I97

Beethoven

the more wonderful when we remember that for some
twenty years its author had been utterly deaf. Of all
jy. , the symphonies written by Beethoven, the

, , ' Ninth ' is the only one containing choral

Symphony „ ... }

parts. For this reason it is sometimes called

the "Choral" Symphony. Schindler, in his "Life of
Beethoven," says of this : —

" It may not be uninteresting to notice the way in which Beethoven
introduced Schiller's ' Hymn of Joy ' into the fourth movement of the
symphony. At that time, I was seldom from his side, and could
therefore closely observe his struggles with the difficulties of his
composition ; the highly interesting sketches and materials for this,
all of which I possess, bear witness to these difficulties. One day,
when I entered the room, he called out to me, ' I have it, I have it ! '
holding out to me his sketch book, where I read these words : * Let
us sing the immortal Schiller's song — the Hymn of Joy. ' And thus it
was the great composer not only made sure his footing on the height
he had attained, but, by the addition of the human voice, rose into
the empyrean."

We are told that in the penultimate movement of the
' Ninth ' Symphony, instrumental music spoke her last

Clarinets in B . . . 2

Bassoons 2

Horns in D .... 4
Trumpets in D . . . . 2
Drums in D and A ... 2

Violins 1st and 2nd

Violas

Violoncellos . . . .

Contrabasso

There are parts also for — Trombones (3), Double Bassoon, Piccolo,
Triangle, Cymbals, and Great Drum.

198

possible word. There could be nothing better, nothing
higher, nothing beyond. "Any attempt further," says
Wagner, "is but to progress backward." Beethoven
himself, recognising this fact, added a chorus to the
final movement, to obtain full expression of his ideas,
and we can but admit that the master has produced
a profound result. This Symphony has that infinite
sublimity and dramatic power, that sympathy with
humanity which make it the most wonderful musical
revelation that could be desired, or that is ever likely
to be devised. Of its intrinsic excellence, words will
always fail to convey an adequate representation. It
must be heard and understood — and it was not under-
stood long after it came into this country — ere the
imagination can fully perceive what the giant mind has
put before us in this creation. It possesses all the
solemnity, breadth, and magnificence allied to the
gorgeous colour, and infinite detail, and workmanship
that invest the works of Beethoven with such value and
import, making them practically inexhaustible to the
closest critical analyst. What it was all intended to
convey the world knows not, at least, not from Beet-
hoven. No programme of the music ever escaped its com-
poser, and capable as he was of keeping his own counsel,
he, beyond stating that he was engaged upon it, talked no
more of this work than of any other. Some call it a
" monstrous madness " ; some, " the last flickers of an ex-
piring genius"; others hope to understand and appreciate
it some day. It is the longest as it is the grandest of
the series. The World, therefore, must build up its own
conclusions respecting the tonal phraseology and language,
the elevated ideas and wondrous melodies, resources, and

199

Beethoven

combinations, which culminate with such dignity and
force in this ' Ninth ' Symphony — the most tragic
world-picture as well as the most spiritually poetic
composition in the whole realm of instrumental art. It
is hardly necessary to state, perhaps, that it is not a
symphony on Schiller's Ode, and that it is only in the
Finale that the poet's words have been employed for
choral treatment. Beethoven had carried the springs of
emotion until he could carry them no farther ; he took
Speech, therefore, and still more enhanced the scope of
the Symphony.

The Symphony was first performed, after but two
rehearsals, on May yth, I824,1 at the Karnthnerthor
Theatre, Vienna, when a tremendous ovation was ac-
corded to Beethoven — the Viennese seemingly having
awakened to the manner of man he was. So great was
the applause that the police were called in to quell an
enthusiasm that was feared would end in a disturbance.
It was a wretched performance, as also was the careless
and ignorant rendering which it received when first pro-
duced by the Philharmonic Society of London on March
2ist, 1825 ; on which latter occasion most of those who
listened to it were unable either to understand or appre-
ciate it — such was the low ebb of musical education and
discrimination in England three-quarters of a century
back.

There is every evidence to show that had Beethoven
lived the treasures of music would shortly have been
enriched by yet another Symphony — a Tenth, to say

1 Habeneck rehearsed it for three years before producing it in Paris
on March 27, 1831.

200

Last Quartets

nothing of other compositions. This ' Tenth ' was clearly
intended for the Philharmonic Society of London. The
master mentioned it on his death-bed, and Schindler and
Moscheles both knew of it. Besides this, that indefati-
gable analyst of Beethoven, Nottebohm, has traced several
sketches for it in the ' Sketch-books ' ; and, remembering
how fully Beethoven planned these vast works out in his
head before committing them to score paper, it is almost
beyond doubt that we only just missed another of these
sublime compositions by the untimely advent of that
Reaper whose approach brooks no delay, and stays not
for excuses.

Now was the end near — nearer than was supposed
either by the great entity himself or by those about him
— so accustomed were they to his spells of ill-health and
repeated rallyings. Fortunately the close of the illustrious
career was crowned by yet more treasures to swell the
precious bequest which the genius had to lay at the feet
of mankind. Orchestral work was laid aside, while the
sorely tried composer, in impaired health, but with his
mental capacity as brilliant and logical as ever, turned
his attention once more to the domain of Chamber Music.
In rapid succession came superlative examples of a form
of art in which he excelled not less unequivocally and
wondrously than he did in the Symphony. These were
the Quartets which, full of heavenly beauty as they are, so
aptly, and with so much dignity, hover like the music of
a requiem over the glorious reign which they shrouded.
The Quartet in E flat, op. I27,1 belongs to the year 1824;
those in B flat, op. 130, and A minor, op. 132, to 1825;

1 The 1 2th, 1 3th, and I5th respectively, for two violins, viola, and
'cello, and dedicated to Prince N. Galitzin.

201

Beethoven

that in C sharp minor, op. i^i,1 and the last in F, op.

I35>2 belong to 1826.

The following circumstances respecting three of these

,. remarkable Quartets require to be known.

~ . In 1824 Beethoven was engaged in the
' composition of his Tenth Symphony, of an

oratorio called The Triumph of Faith, and of an opera
written by Grillparzer, when Prince Galitzin requested
him very urgently to compose three quartets for him,
offering him 125 ducats, on condition that they should
not be Beethoven's property till a year after the prince
had got them. Beethoven laid aside the works he had
begun, finished the quartets, and sent them to the prince,
but did not receive the stipulated price. He did not
trouble himself about the matter, never supposing that
a Russian prince could break his word. But, being
much straitened in his circumstances, in consequence
of severe illness, and the sacrifices he had made on
his nephew's account, he at last wrote to the prince,
reminding him of his engagement. Having received no
answer, he made two farther applications, but no attention
was paid to them. M. de Lebelteren, the Austrian
ambassador at St Petersburgh, and M. Isisgritz, the
banker, also interfered, but in vain. The generous
prince, forgetting his debt, had set out for the army
on the frontiers of Persia. It was then that Beethoven,
driven to extremity, applied, through Mr Moscheles, to
the Philharmonic Society of London. In the face of
all this, the name of Prince Galitzin stands on the title-
page of these three quartets, Beethoven having dedicated

1 The I4th ; dedicated to Baron von Stutterheim.
1 Dedicated to his friend Johann Wolfmayer.

202

Sacred Music

them to him, notwithstanding the mean conduct of this
pretended patron of genius. It cannot be maintained,
however, that Beethoven was "driven to extremity"
when he wrote to Mr Moscheles; for it was found
after his death, that he was possessed of a considerable
sum of money; and was, when he died, in the receipt
of a pension of about ^70 a year. He had thus the
wherewithal to live, according to his abstemious and
retired habits; and when we consider his high and in-
dependent spirit, we can only ascribe the dread of want
which appears to have embittered his latter days, and his
application to the Philharmonic Society, to the influence
of disease in breaking down his once independent spirit.
Actually the last composition Beethoven wrote, and which
is published in its original form is the Finale of one of
these Quartets — that in B flat, op. 130. It was com-
posed four months before the composer's death. His
last professional appearance was when he appeared as an
accompanist at a festival-concert on the birthday of the
Emperor of Russia in 1815. Quite unexpectedly he
presented himself, and at once " Adelaide " was put on
and sung by Franz Wild to Beethoven's accompaniment.
On 2oth April 1816 this was repeated, and this occasion
was Beethoven's actual last appearance.

That Beethoven excelled as a composer of Sacred
music requires no demonstration. It could hardly have
been otherwise with a musical genius of such exalted
order, whose mind was ever impressed and controlled
by the sense of an Omnipotent Unseen on and in Whom
he placed his whole dependence. His simple, earnest
faith found vent in many a letter and many an utterance,

203

Beethoven

but nowhere is his sincerity and chaste mind better re-
flected than throughout his music — whether the sacred
or secular. " I well know," said he one day to a friend,
"that God is nearer to me in my art than others — I
commune with Him without fear." Mention has already
been made of that masterly work the " Mount of Olives,"
with its majestic " Hallelujah " Chorus — the only thing
of its kind that has ever approached Handel's glorious
" Hallelujah " — and now Beethoven's two famous Masses
call for remark.

When Haydn and Mozart wrote their masses they
spoke the deep religious sentiment and conviction within
them. Lovely and pleasant, too, are the stores of musical
treasures belonging to the Church which these composers
reverenced. Marked though most of these Masses of the
eighteenth century be by a strong family likeness, they
are nevertheless entrancingly beautiful — so celestial that,
at times, we seem to hear the very angels sing. Their
predecessors of the Palestrina and Scarlatti schools were
of a severe and gloomy character, and it was a merciful
thing for pious Catholics when Haydn and Mozart
arose with their wealth of sanctuary music — music to
which one cannot well listen and not believe.

Beethoven came to mark an epoch in Catholic Church
music in his two Masses — the one in C

jfi c sy

~ , and the J/wa Solennis in D. Here again

,, . he is that "law unto himself" which was

„ a marked characteristic of his personality.

* " He eschews conventional church garb and

practice, and writes what he himself submits to be mass
music. His religious mood is no blind service to
ecclesiastical tone, ending on word-painting, nor are his

204

A Deviation

1 Agnuses ' reminiscent of the pasture and sheepfold.
The atmosphere marking Beethoven's music is an exalted
one of his own formation; and church colourings, rites,
and sacerdotal appendage and practice do not affect or
influence him in the least. The composer puts his own
reading on the text and sets it according to the ethics
of his own finding. Like the rest of Beethoven's music,
these Masses are couched in such impressive language
that they appeal to the reverent mind irrespective of
any ethical or emotional bearings which a religious
system, or ritual, might have had — if such had been
possible — upon Beethoven. Both Beethoven's Masses
must be regarded as expressing the master's own con-
ception of religion and the awful profoundness of the
vast mystery which they concern. In them the great
genius soars far away from priestly rite and human
teaching — leaving "temples made with hands" for that
inexpressible sphere where all, after all, is Unknown ;
where reigns that One before Whom and after Whom
there was at any rate in Beethoven's religion, nothing.

It was a daring deviation from the flowery path of
Roman service music that had long obtained before
his advent. His ecclesiastical colour was totally new —
nobler, healthier, and more bracing; while his reading
of the mass text, unconventional and independent as
it was, lifted worship out of the Church into his broader
region — that 'everywhere' wherein God and Religion were
to him as ever present as in the cloister or cell. Thus
Beethoven stands apart by himself as to his setting of
the Mass. He follows no school or model, but expresses
with intense force his own interpretation of the text, and
without aiming at churchiness is as awe-inspiring as he is

205

Beethoven

theoretically astonishing. From an inciting church music
point of view, however, he has not improved upon
Haydn and Mozart or their predecessors Pergolesi and
Jomelli. The Agnus Dei of the D Mass is one of the
most dramatic emotional movements known to the world ;
but in neither the C nor D Masses has the composer
struck a new ecclesiastical-musical ideal, however much
he may have infused his works with a dramatic force
hitherto foreign to church music.

The Mass in C1 belongs to the year 1807. The first

1 Op. 86. For S.A.T.B. Chorus and Orchestra, Originally
dedicated to Prince Nicholas Esterhazy de Galantha, and altered
in the published copy to Prince Kinsley.

Kyrie. — Andante con moto assai vivace — .

Ky - ri - e e - lei

206

Mass in C

performance of it took place in Prince Esterhazy's private
chapel at Eisenstadt, where Hummel was Capellmeister,
on September 8th of the same year. It came like a

Credo. — Allegro con brio,

^^=r±

do, &c.

,JSEd HP

EfEEE?_^E^

l:-p— F-

Sanctus.—

f r

.g_L_*ufc

:*zrp:

tus,

sane - £«s, sane- &c.

i^=^

BenedictUS. — Allegretto ma non troppo.

-•3*5=^1.

(Soli.) Be - ne • die - tus qui ve - nit in no • mi-ne &c.

207

Beethoven

thunderbolt upon the prince — long inured to Haydn's
precise, close-fitting style. The first model
Mass in C of a new style of choral music it undoubtedly
was, but the princely patron did not relish it.
" What have you been up to now ? " he enquired of
Beethoven, in the presence of Hummel, who smiled.
There was no reply. Beethoven flew into a terrible
passion and left the place. As in the case of everyone
of Beethoven's scores, the Mass in C has outlived all
the disfavour that first greeted it, and to-day it is freely
accepted as one of the most precious, soul-stirring com-
positions that adorns the rich ritual of the Roman
Church. Now we hear nothing of its aural surprises,
its abrupt modulations, sudden transitions, remote har-
monies, and vocal perplexities. Why ? Because musical
education has gone on apace, and narrowness of thought
and pedantic servitude are lost for ever in a wider spirit
of comprehension and appreciation which has permanently
broadened the vista of musical art. "The chief import-
ance of this remarkable Mass," it has been aptly pointed
out, "consists in showing how far sacred music may be

Agnus Dei. — Poco andante,

&s=

Ag - nus dei,

cresc. .*.. -m .J-P--
-F-' -»-• foW-.

&c.

o • <=!_; at-. — Uli-I _f±; |* . g_jL.Lh«.- • — „. ^ - 1

j^ «» ^ Lie p u.

208

Mlssa Solennis

freed from formulas and placed under the dominion of
imagination."

" I never saw Beethoven in such a state of absolute
detachment from the terrestrial world as when he com-
posed the Missa Solennis" J writes Schindler ;
fass in D and we can well imagine how the composi-
tion of such a work — one that is the ambi-
tion of all conductors, would affect Beethoven's serious

1 Op. 123. Mass in D (Messe Solennelle), dedicated to the Arch-
iuke Rudolph. First performed on May 7th, 1824.

-Assat sostemito.

/ 'Ten. Solo! Ky

Gloria. — Allegro -vivace.

lli3E=^

^B=^gg^
*g= =533 ___=!- p.

Chor. Alt. Glo - ri-a in ex-eel • sis De
f

7-i-a in ex-cel-sis

209

Beethoven

temperament. On March 15, 1823, Beethoven addressed
a letter to Cherubini relative to this Mass, which letter,
however, the composer of Les Deux Journees never

Credo. — Allegro, ma non troppo.

:&i

,_b:

Cre - do, ere - do,
Chor. Bass. | I

id* -9- I

Cre - do, ere - do.

-J- " — /«-

£^^j£=fer=^j

••— i: (•. p. r^TT 3*

Sanctus.—

Soli.

in unum, u-num de • um

Sopr. Simc - - <iw,

^ ll-J-l

-* — •-

Alt,

Sane • tus,

Sane - - tus,
Ten. K J w . r

Sane - &c.

— i x_^l
Bass. (Sa'/tc - tus,

— Sostenuto, ma non troppo.

-&-

j^^-r

-*— gg •- __t

r^br1 — H

&c.

-«— — -

-p— •-

rz^fSi

210

Mass in D

received. It ran : " I recently completed a grand
solemn Mass, and have resolved to offer it to the various
European Courts, as it is not my intention to publish
it at present. I have therefore asked the King of France,
through the French Embassy here, to subscribe to this work,

BenedictUS. — Andante molto cantabile.
Viol. Solo. | I

ftSJ:i: j:CJ?j! J3: fj^t Ite-i*-.

If^E^^^^m^^^^in^J

Bass Solo. -p ^ r* | f f-

211

Beethoven

and I feel certain that his majesty would, at your recom-
mendation, agree to do so. My critical situation demands
that I should not solely fix my eyes upon Heaven, as is my
wont ; on the contrary, it would have me fix them also
upon earth, here below, for the necessities of life."

We have already seen (p. 29) the result of this
subscription, which must have disappointed him — even
used to rebuffs as he was. Such was the Rossini furore,
however, that the public was indifferent to Beethoven and
his Mass too, for the moment. It was still open to him
to sell it outright, and this he did.

As a sacred composition this Mass is still less suited
to the Church than the Mass in C. Like Bach's B minor,
and Cherubini's magnificent Requiem Mass in D minor,
the length alone of these compositions forces them into
the concert-room rather than the cathedral. A composi-
tion that runs into hours in performance is ever hardly
likely — at least we hope so — to find a very frequent
hearing at a service intended for the purpose of worship.
There is another restricting feature about all these
eighteenth-century masters' Masses, particularly Beet-
hoven's. They have a suggestiveness of theme and
emotion which carries the mind over the composer's
secular compositions, while their excessive warmth,
dramatic energy, and strong emotional yearnings, woe-
fully detract from their value as helpful church music.
Every churchman — whether Protestant or Roman —
welcomes music that will help him in his devotions;
not art that carries the mind away from the church
into the world, grand and masterly in the extreme though
such art be. But Beethoven brooked no restrictions,
other than those of his Art, when he wrote sacred or

212

Orchestralist

any other music. It is Beethoven, think what we will
of it for church service or ecclesiastical function.

After vocal came instrumental music, and Beethoven so
identified himself with the orchestra that no story of his life
would be complete without proper regard to this aspect.
It was in the seventeenth and eighteenth centuries that
composers seriously occupied themselves with purely in-
strumental pieces, which took their names from existing
vocal forms. Thus we got the primitive shapes of the pre-
lude, suite, sonata, and symphony — somewhat antiquated
patterns, however, which were to be replaced by nobler
ones, built upon existing structural forms of sacred and
secular contrapuntal art, but united to thought and drift
more beautiful, expressive, and ornate, than had before
existed. The Venetian, Netherlands, Early „. , ,
German and English schools — all aided in nit
this slow evolution. Sebastian Bach stands
as the great link between the old and new ; and after him
it needed only Emmanuel Bach and Haydn to lay down
the sonata and symphony where Beethoven took them up.
Haydn particularly put a new orchestral as well as formal
face on the symphony, extending its separate movements
and divisions, and developing the thematic treatment of
the musical idea or motive ; but despite his one hundred
and eighteen examples, he left it an unromantic, though
beautifully adjusted classical structure. It might have
seemed, then, that he had exhausted the subject; but
Beethoven appeared to achieve yet greater things by his
genius. Instrumental music had yet to fulfil its highest
mission both in form and spirit. The psychological and

213

Beethoven

mathematical conditions of theoretical music were to be
coupled — wedded and made amazingly convincing.

The orchestra in Beethoven's day — say a hundred years
ago — was a very different thing from what it is now. Then
modern instrumentation was in its infancy, Haydn being
the establisher. To-day it has reached its full develop-
ment, scant room being left for improvement, save in the
case of one or two instruments where convenience rather
than effect would be served, while the invention of new
instruments seems out of the question.1 In the first
place, the harpsichord — the predecessor of the pianoforte
— a power in old-time orchestras, has been banished pro-
bably for ever. A comparison of the orchestral scores of
Haydn and Mozart with those of Wagner and Verdi to-
day will reveal the fact that nearly all the instruments now
in vogue were then within reach and were used. Such a
scrutiny will at once bring home where the difference in
the two bodies exists. Though the instruments employed
are similar, save those later introductions the bass clarinet
and tuba, the composer's method of using them differed

~ , considerably. Chiefly, instruments were not

Orchestra Jl

, , , used en masse to anything like the extent the\
as found by

B thtrr are now> nor as Beethoven m nis works —

especially the later ones — employed the whok
orchestra. His was a manner that was quite new in his
day. Haydn and Mozart rarely if ever employ foi
horn parts, trombones were sparingly used, the oboe coi
stantly had place where the clarinet would now displac

1 The flute, it may be stated for instance, is an instrument which,
since Beethoven's day, has greatly gained in power and intensity,
that the composer could not have heard his flute effects as we hear
them to-day.

214

Colourist

it ; l while the wood wind instruments generally performed
less important duties, and were less effectively combined
than was the case under Beethoven and later orchestral com-
posers. Beethoven, although he began cautiously, remedied
all this, and developed orchestration in a manner akin to
his great genius — so much so that he must be credited as
the maker of to-day's orchestra. He gave it considerably
less to do in solo or in twos and threes, making up for this
by a consistent handling of his forces in solid groups or,
as occasion often required, in one irresistible phalanx.

This new orchestral method constitutes one of the most
important among the many vast achievements which Beet-
hoven accomplished for music outside his labours as a
composer. It is such radical modifications as these that
only the genius can detect and carry out. It was a grand
move for orchestral art ; it gave the orchestra a unity and
compactness that it did not before possess; it provided
it with that homogeneity which enabled Beethoven, par-
ticularly, to give practical shape to conceptions demanding
colossal sound forces, which alone could convey the tre-
mendous pronouncements he had to hurl at the intelli-
gence of the newly opening century. How wonderfully
he has raised the majesty of art — extended and enlarged
it materially and theoretically ! No instrumental pigmies
will evermore pose where giants only may tread.

In his variety of colouring — i.e. the power of judiciously
blending the several instruments so as to bring out their
qualities to the greatest advantage — Beethoven is supreme.
Mozart was a great colourist, but even his rich treasures

1 Mozart's C minor Symphony originally had no clarinet parts.
These were subsequently added by the master, the oboe parts being
modified to make room for the clarinets.

215

Beethoven

are surpassed by the boundless wealth of harmonious com-
bination which Beethoven summons in his orchestral re-
O he t I sources< A close study of this subject will
„ . ' fire the student with unbounded admiration
at the marvellous faculties, rich fancy, and
persistent zeal in every detail, manifested by Beethoven
at each touch of his pen in the direction of instrumental
manipulation. The active, restless spirit seems never to
tire in the desire to present an idea in yet one more new
light. Each instrument is regarded as an identity, with a
voice and right to speak at the opportune moment. Thus
come his contrasts and tonal chiaro-oscuro ; thus escape
those truly exquisite passages of which every instrument
has a share under Beethoven's rule; thus the multitudinous
listeners who, year after year, crowd to hear Beethoven are
enthralled by the momentous manifestations which compel
rapt attention from one end to the other of his every score.
In consequence of this extraordinary power of intro-
ducing variety everywhere, nothing in Beethoven's music
ever seems stale. He never reflects himself in a way to
suggest an exhaustion of his powers. He repeats phrase
after phrase for a purpose, yet seldom tiring us or induc-
ing the feeling that we have heard an old thing over again,
or that we are being treated to mere " padding." Nor in
all this does he trust to mere technical orchestral device
or ingenuity. The emotional element is ever changing,
until at times we are face to face with the fact that scarcely
a shade of feeling by which the human breast is capable
of being agitated, or such as natural phenomena induce,
has been left untouched. We need to go particularly to
his last works — those which belong to the period between
1815 and 1820 — to reap the full experience of his psycho-

216

New Force

logical invasions. These works literally burst with beauty,
variety, and richness of tone-colourings ; but, there is more
— they are full of the mystic and heavenly, as if the com-
poser, willing to cease battling with a stormy world, saw
all heaven unfolding before his eyes. Religion seems
mingled with music, and an atmosphere mystical and full
of import, strangely different to anything else in the whole
realm of musical art, shrouds us around, above and beneath.

Without doubt, Beethoven in his instrumentation is
indebted to Mozart. The latter, standing between Haydn
and Beethoven, accomplished much with his exquisite
ear and artistic sensibility to advance instrumental art
and usage, though it was left to Beethoven to bring it
to perfection. The great symphonist enlarged everywhere
and put all — the material and spiritual alike — on a more
expansive and broadened basis. Withal, under his treat-
ment, every instrument partakes of more reality and is fuller
with life and action than it ever was before he worked.

It would need a volume at least to do justice to
Beethoven's instrumental influence. We have stated
broadly where he improved the orchestra; while every
amateur and musician knows that his employment of
the various instruments proved such as had not been
known before, and has certainly never been equalled
since. It was what Beethoven had to say and transmit
through orchestral media, however, that has constituted
it such a new and wondrous element among the world's
processes and resources. Until Beethoven's day, Litera-
ture, Painting, and the Drama were the acknowledged
channels through which the greatest messages were
brought home to whatever intelligence was possessed
at the time. But a fresh force was at hand. Beethoven

217

Beethoven

furnished a new medium and a new way, by means
of which the discerning are permitted to realize, and
this through no glass darkly, the profoundest truths
and extremest subtleties of humanity and nature alike.
This was a new musical dispensation of which men know
not yet the possibilities.

Up to and including the "Second" Symphony, Beet-
hoven contented himself with much the same orchestra
as Mozart used. Mozart had nobly employed the
trombones; Haydn used the bassoon — an instrument
that the Bonn orchestra possessed. With the ' Eroica '
Symphony, however, Beethoven broke away, and his
method of working out and employment of the instru-
ments underwent an unmistakable change. A single ex-
ample must suffice. He freed the horns from their tradi-
tional restrictions and established the record of being the
first composer to demand three horn parts in a symphony.
And how altered horn music from that day became !

There is not an instrument of the orchestra that

Beethoven did not lift into greater importance. His

labours in this direction, indeed, are so extraordinary that

whole books might be devoted to this special feature of

him as a musician. A study of any member

*• 7*1 °^ t^te String, Wood or Percussion families of

™enat instruments will show that in every instance

it grew into more importance and received
greater prominence under Beethoven's remarkable mani-
pulation. It would be a labour to enumerate even the
most striking instances of his deft handling of each
instrument, though such a process would involve one
in a very ocean of examples — so constant is the flow
of his wondrous instrumental variety and invention.

ai8

Trombone Music

The whole matter can well be left summed up in the
grand orchestral results which he has attained — results
which his splendid, sometimes almost miraculous, detailed
workings have led up to — results which have indisputably
proclaimed Beethoven to be the greatest wonder among
masters of the orchestra that the world has ever seen.

This conviction forces itself upon us wherever we look
— whether towards his symphonies or compositions for solo
instruments. Take the Violin for example. The Concerto1
which he specially wrote for Franz Clement is the greatest
of all violin concertos. In the same way the violin music
throughout Beethoven's symphonies is of an order that
was unknown until it, too, appeared. No violin music
prior to it had possessed such broad expressive passages,
such fresh detail and technique, such warmth and emotion.

If we turn to the Trombone 2 we find his employment
of this old-time instrument to be simply perfection.
Everyone will call to mind that fine inspiration the
Funeral-Equale for four trombones performed at the
composer's own funeral and frequently since at burial
services in Westminster Abbey and elsewhere — notably
with long abiding effect when William Ewart Gladstone
was laid to his last sleep in the Valhalla of Britain's great
ones. The first appearance of trombones in the sym-
phonies occurs in the ' C Minor,' and other noteworthy
instances of its use are to be found in the Benedictus
of the Mass in D — particularly those mysterious trombone
chords " pianissimo " ; also in the Finale of the ' Ninth '
Symphony. In the case of the Clarinet, there is hardly a

1 Preserved in the Imperial Library at Vienna and first played
on December 23rd, 1806.

2 Formerly known as the Sackbut.

219

Beethoven

score in which Beethoven does not call upon it — as a
glance through his list of works will show. In every
case the master added to its functions and worth in the
orchestra, notwithstanding his evident partiality for the
upper over the lower notes of the instrument. Striking
passages for it abound where Beethoven is dealing with
a full orchestra, while especially favoured opportunities
for it occur in the Larghetto of the 'Second' Sym-
phony, in the first movement of the 'Pastoral' and in
the Trio of the ' Eighth ' Symphony — the latter difficult
clarinet music indeed.

The Drum was as patient as a tortoise until Beethoven
infused new life into it, and produced some of his most
remarkable effects by its use. Of course the Bachs,
Haydn and Mozart employed it, and this artistically;
but it was Beethoven who made it something more than
a noise-producing instrument. Unlike Berlioz, who used
sixteen drums in his Requiem, Beethoven nowhere employs
more than two. He was the first composer to alter the
accepted drum tunings to other notes than the tonic and
dominant, and this as early as in his ' First ' Symphony,
in the Andante of which is a striking passage for them —
quite rhythmically independent of the other instruments.
In the 'Eroica' Symphony the drum is frequently em-
ployed in a truly remarkable manner. In the Finale of
the ' Eighth ' Symphony the drums are probably for the
first time in musical history tuned in octaves. Magnificent
use is made of the instrument in the Violin Concerto, the
Fifth Pianoforte Concerto, and especially in the Fourth
Symphony, where it has solo passages of extreme effect.
The enharmonic change in the first movement of this
Symphony, when the original tonic (B flat) drum is

220

Bassoon Music

unexpectedly employed as A sharp, again illustrates the
wonderful resources of this king of orchestralists.

The Trumpet was not a favourite with Beethoven,
although its high pitch and brilliant tone have served the
composer on many occasions to enhance the gorgeousness
of his greatest effects, particularly at tutti points, and
where he needed to declare himself with fullest emphasis.
Almost every one of Beethoven's orchestral pieces fur-
nishes many such points — particularly so the ' Seventh '
and ' Eighth ' Symphonies, the Agnus Dei movement of
the Mass in D, wherein there is a wonderful passage
for trumpets and drums, and the Leonora Overtures ;
while an even greater effect is raised from a prolonged
F sharp for the trumpets through no less than seventeen
bars of the ' Eighth ' Symphony.

Another of the principal members of the numerous
family of brass instruments Beethoven certainly did not
forget. This was the Horn — that instrument which
lends such romantic air wherever it is judiciously intro-
duced and blended in an orchestra. In the ' Eroica '
Symphony is music for three horns, and this was one of
the earliest appearances of that number of Corni in the
orchestra ; while in the ' Ninth ' there are no less than four !
Glorious passages for this weird and unassertive instru-
ment will be found in the ' Fourth,' the ' Eroica ' — its
Trio, to wit, the ' Seventh ' and the ' Ninth ' Symphonies.

The Bassoon was yet another instrument that Beethoven
exalted. Although employed largely by Handel among
other great masters of music in their orchestras, no
composer has used it with such imposing effect as has
Beethoven. He engages it almost everywhere that it can
be advantageously introduced — notably in the ' C Minor '

221

Beethoven

and ' Choral ' Symphonies. Not infrequently he reinforces
it with the double bassoon or contra-fagotto — as, for
instance, in the symphonies just mentioned. There is
some fine music for the first and second bassoons in the
slow movement of the ' First ' Symphony ; the ' Second '
Symphony opens with bassoons in unison with the bass
strings. An unusual yet excellent employment of it,
under staccato treatment, occurs in the Adagio of the
' Fourth ' Symphony ; it is perfectly " alive " in the first
movement of the ' Eighth ' Symphony, where it is very
humorous, and also in the Minuet ; while some remark-
able passages for it are well known in the Finale of the
' Ninth ' Symphony. So one might go on, ad infinitum^
instancing example after example of Beethoven's admir-
ably full and yet judicious employment of every instru-
ment that the orchestra then contained. But, if all were
said that might be said of the master's achievements in
this direction, no portable volume would hold the story,
We must leave, reluctantly, a field so fruitful that any
attempt at recapitulating, much less closely analysing its
treasures, becomes a matter of simple impossibility.

Wagner heads the list of the few who see defects in
Beethoven's instrumentation, defects which, where they
exist, have only been rendered apparent, we apprehend,
by the later light of advanced technical renderings and
instrumental development and treatment ; inasmuch as it
is absurd to imagine that the genius would have left
any known open door for improvement upon his masterly
operations. One of Beethoven's greatest points of
strength was his anticipation of coming musical possi-
bilities and necessities, so that when conductors are
ready to " improve " upon Beethoven, it is fairly safe for

222

Wagner Revisions

them to heed the warning that the " letter " of the master
will often prove better then any amendments or revisions
— Wagnerian or otherwise. The teaching that in the
later years of his life Beethoven was not r/r,

vvCl&7l£'y Oft

always sure of the effects of his instrumenta- „ °, ,
'. . , . , Beethoven s

tion is a mischievous one to propagate ; and n j, t

we shall be far better off, probably, content

with the gospel of Beethoven as he left it,

than by tampering with it in the light of any new doctrine,

however exalted the presuming teacher may be. To take

one example — the ' Choral ' Symphony is a work which

attracted the criticism of the erudite Bayreuth master.1

1 A reference to a Breitkopf & Hartel's edition of the Choral
Symphony, p. 19, will show the reader the purport and value of
Wagner's suggested emendation, as carried out in the following
passage : —

Flutes and Hautboys.

223

Beethoven

Not only are we told by him that marks of expression
could be improved, but that phrases could be better
written, that the instrumentation could be revised, and
that the difficult vocal part, notably a trying passage,
a cadenza in B major for the four principal vocalists,
might be simplified — all excellent advice in its way, but
if adopted by that great band who call themselves
" improvers," where shall we stop ? Better far to leave
Beethoven to live or die through his works as he left
them.1

This question of Beethoven's instrumentation and tempo
was well summarised in the Monthly Musical Record for
May i, 1874, and January i, 1878; and as no less a
champion than Mr August Manns stepped into the arena
on this occasion, the discussion is well worth the study
of those interested in the subject. How the famous
conductor wound up the whole matter, however, may be
gathered from his castigation of a captious critic : —
" ' C. A. B.' must, I fear, continue to express his surprise.
At any rate he must forego the pleasure of hearing
Wagner's Beethoven at the Crystal Palace as long as
the direction of the musical department is confided to
myself; and I trust that all who may follow me may
at least agree with me in this, that Beethoven's works
require no such alterations as are suggested by Herr
Wagner, considered as they are by all, except a small
minority, as the most perfect monuments of musical art
in existence."

1 No one, let it be noted, was more indebted to Beethoven's works
than was Wagner. " I am doubtful," Heinrich Dorn writes in 1832,
" whether there ever was a young musician more familiar with the
works of Beethoven than Wagner at eighteen."

224

Manns v. Wagner

" I will only add that while fully alive to the great genius
of Wagner, and grateful for the many benefits ,.

which, in common with others, I have received
from his keen and able criticism on orchestral

performances, I must decline to acknowledge
his infallibility, or that of any other man, in reference to
the tempos l of other people's music. Though anxious to
learn from any quarter, a conductor must ultimately confide
in his own judgment, whenever a composer's personal
directions as to time and general reading cannot be
ascertained, because it is only on the strength of such
self-criticism that he can avoid placing himself in the
position of the man with the donkey in ' ^Esop's Fables,'
who in trying to please everybody, displeased all, and lost
his donkey into the bargain." Bravo ! August Manns,
jealously loyal to the great ones, whose creations he
has wrought so indefatigably and successfully to interpret,
and ever instinctively true ta the highest traditions of
orchestral harmony.

In the ninth volume of Wagner's " Collected Writ-
ings" is an article entitled "Zum Vortrag der neunten
ymphonie Beethoven's," originally contributed to Musik-
Hsches Wochenblatt, which, as might be expected, is
very able plea for 'improving' Beethoven's instru-
;ntal masterpiece. Whether such " improvements " will
er come about now that Wagner is dead cannot be
determined, but it is devoutly to be wished that the day
is far off when the man will be found with the temerity
to tamper with Beethoven, though he charm us ever so
wisely with the assurance that as much can be done with

1 This had reference particularly to the Tempo di Menuetto in
Beethoven's Symphony in F (No. 8).

P 225

Beethoven

Beethoven as Mozart, by dint of additional accompani-
ments, did for Handel. Incontrovertible as it is that
Beethoven's symphonies, etc., were scored for an
orchestra of much the same numerical strength as
Mozart's and Haydn's; undeniably true as it also is
that Beethoven's conceptions were far beyond the
resources at hand to give effect to them; however
much he was forced to control his mind, un-edited
Beethoven as he stands in his scores, will always
content the really reasonable and practical musician.

.,, None the less it would be a great injustice

Wagner ,I7. . , . ., . J

, ,j... to Wagners genius and sincerity in art to

Additions ,. ,11. • \. u-

disparage, though we may reject, his pro-

., posals respecting Beethoven's orchestration.

Beethoven £ ,, Tjr r, , , ,, ,, .,

Both Haydn s and Mozart s ideas exactly

accorded with the strength of the orchestras that per-
formed them. The same cannot be said of Beethoven,
who had something grander in conception than had
either of his predecessors, though, good workman that
he was, he did his best to make his utterances felt
through the material provided. It is here that Wagner
wanted to ' improve ' Beethoven. The Bayreuth master
conceived that all he could discern in Beethoven's intent
was not reached to the full owing to the conditions through
which Beethoven conveyed his mind to us. Beethoven
gave the old slender orchestra infinitely more to do —
notably in the " Eroica " — than it had before, and it is
little wonder that such a scrutiny as Wagner's left him
with the conviction that many of the Bonn master's effects
came out hazy, and that the grand truths and intentions
were only partially driven home, losing much of their effect
because of the inadequacy of the means conveying the

226

New Region

idea. Wagner, it may be conceded, could have "touched,"
(if the process had gone no further), many of the passages
in Beethoven's scores with wonderful advantage, especially
in the direction of increased sonority — a quality which
Beethoven ever had before him.

Wonderful and unrivalled as Beethoven's achievements
in the creative and instru-
mental departments of music
indubitably are, his influence
upon the formal face of theo-
retical art is, certainly, not less
far-reaching and astonishing.
He expanded and improved
everywhere, whether we apply
this to his colossal works in
their entirety — to their emo-
tional properties — or to a
single idea or episode con-
stituting a part of some move-
ment. If, too, he impressed
the formal side of music by
his vast industry and super-
lative original gifts, how much

more is to be accounted to him for his achievements in
that more exalted sphere of art influence — the aesthetics of
music. The spiritual, emotional side of music was practi-
cally an undiscovered region until Beethoven opened it
up, and by his bold traversings took mankind into a new
world with all the wondrous possibilities of that art which
had been engaging men, if not from the earth's founda-
tion, at least for ten or twelve centuries. All of this soul

227

Beethoven's Watch

Beethoven

of music may not even yet be fully understood, but it will
be some day.1 It is not too much to say that the Romantic
style in Music owes its existence to what Beethoven accom-
plished in the symphony, sonata, and overture.

To do justice to Beethoven — to solve his music and
to participate much, or little, in its spirit and teachings
— it is necessary to bear in mind that he was something
,, more than the masterful musician. However

, . , original and dexterous he was in his theoreti-
fy ,. . cal expression and inventiveness — and only

s ,, those sufficiently acquainted with the scien-

of the ... u • i -j r

•\, . tific or technical side of music can adequately

estimate this — he was yet more. Music is,
or should be, the language of a great mind, having tones
for its speaking letters. Beethoven was the exponent of
this tongue. Everything he says musically has a hidden
meaning to it ; and to those who understand music
thoroughly there is as much of the divine and human,
the spiritual and material, told us by Beethoven in his
special language as Shakespeare, Homer, Milton, or any
other litterateur has left us in words. It is not alone the
technical or material aspect of Beethoven's music that is
so overwhelming — wonderful, indeed, as it is ; but it is
its mental and spiritual characteristics which so possess
the attentive mind. If our poets and philosophers have
unfolded to us in verse and prose great truths from an

1 It was the late Sir George Smart's opinion that "although the
later works of Beethoven may have been theoretically correct, they
were to the ear harmoniously unpleasant." [Communicated to the
writer by his niece, Miss A. C. Smart, who owns the Canon,
" Ars longa, vita brevis," which Beethoven specially wrote foi
him.

228

Music's Soul

unknown world of imaginative fancy, Beethoven has
placed before our senses mightier things in music —
stored up though they be, unless to a comparatively few
— for an age when everyone will see the mental side of
such music as readily as they now comprehend the sub-
ject of a painting beneath the pigment, or the spirit of
an author behind his typed pages. Beethoven is far
from being done with when the listener experiences
grand harmonies, rapturous tune and gorgeous orches-
tration in what is before him. The mental image, the
picture, Beethoven's soul — all that he was worth mentally
and emotionally is ever behind.

His music, almost from the first and certainly at the
last, is ripe with psychological issues. Who can pro-
pound, for example, the full meaning of the romanticism
permeating the Leonora Overtures, the slow movement
of the Concerto in G, or furnish the key to the
mysterious, unearth-like air pervading the Trio of the
" Eroica," the ' Seventh ' Symphony, and Beethoven's
last Sonatas and Quartets? It was man's soul that he
made music for, and which it appeared to him was
capable of higher musical aspirations and realisations
than had hitherto ever summoned it. Adverting to the
question of the strangeness of the last symphonies, he
one day told Freudenberg, who had trudged all the way
from Breslau in Silesia to Vienna to see him — "What
does a blockhead like you, and what do the rest of the
wiseacres who find fault with my works, know about
them? You have not the energy, the bold wing of
the eagle, to be able to follow me." Here is where he
so distinctly anticipated Wagner and his mission, fore-
stalling the very essence of Wagner's gospel, which was to

229

Beethoven

make men nobler, better, freer by the aid of a free musical
drama — nothing else. This sesthetical tendency, this
philosophic purpose which permeates Beethoven's music
and invests it with a wondrous halo, such as no other com-
poser cast over the art, is one of the strongest grounds of
its universal acceptance to-day. It was not understood or
appreciated at first, though it was undoubtedly there in
the earliest compositions, strengthening and strengthening
towards that full maturity which is characteristic of his
ripest works ; but to-day much is clear and understandable
enough to trained, willing minds. Whatever name we
accord to this quality, it is incontestably the secret of
Beethoven's superiority over all composers of music.

Putting its ethical drift and meaning aside for the
moment, this emotional element is more remarkable in
Beethoven than in any other composer. The nature of
his thoughts, the purity and sublimity of his expression,
simply impel one to bow the knee. In some cases the
subjects which form the text of his music are abrupt and
individual beyond all precedent — in others they are
steeped in heavenly beauty and feeling — in both in-
stances because they are the representatives of corre-
sponding emotions. Mere " music " and " harmony " were
nothing to the mind of Beethoven. He required moment
and meaning in art, so that every phrase that he has
uttered has a purport — a sense, if we can but discover
it. Music must be a language, a language of those
grand things which overflowed his heart, and which, like
Wagner, he wished to bring home to his fellow-creatures.
His admiration of the works of Haydn and Mozart has
been surpassed by no man, but to his thinking they were
but as a visitor at the entrance-gate of a far-reaching

230

Art Apostle

kingdom. They did not tell of that vast sphere of art
which he so keenly realised, and which in so remarkable
a degree he felt it to be his mission to bring before the
understandings of mankind. Great as had been the
achievements of his two famous predecessors, he was
inspired to accomplish still mightier things from his art.
And the world must know that Beethoven did accom-
plish more. He fulfilled all that was possible in the
domain of absolute music, surpassing everything that had
been achieved before. In the ' Ninth ' Symphony, where
Speech is joined to Tone, the limitations of actual music
seem to be set. Here we have not a symphony with a
chorus merely, but that culmination of art elements to
which Wagner only asked to add the Dance to form that
perfect elixir which, according to his gospel, was to prove
potent enough to emancipate Germany intellectually and
give the people an ideal existence here on earth.

Admirable as is the spiritual intent of poetry, prose,
painting, and music, it is only when the artist touches the
heart-chord of everyday experience that a world of vibra-
tions are set up in every sympathetic breast. Beethoven
while being so lofty is also so human that the lowest can
understand and be touched by him. The properties of
his music appeal so forcibly and unerringly, even to the
popular mind, that the masses, whenever they hear it, to
use a homely phrase, " like it." He strikes the springs of
the finest feelings within us; he invokes — and not vainly
— the best sentiments of every heart. His music is not
the vulgar stuff which the sugar-coated composers, who
write for their banking account, thrust before our intelli-
gence and force into our ears. Everything that Beethoven
wrote sprang from a large, pure, uncommercial heart, and

231

Beethoven

this is why, given his genius, it is ever fresh like newly
plucked flowers ; and why, too, it will live when tons of
rubbish — it deserves a worse name — has worked its cursed
evil and served its little day. Beethoven is so pure, so
lofty, that he furnishes food for the child and the philo-
sopher alike. His work can have only one effect upon
all — that of making the listeners better men and women.
As Shakespeare has said the grandest things in Literature,
so has Beethoven expressed the loftiest utterances in
Music — sufficient for every intellect and all time. A
composer's works can with difficulty be other than a
mirror of his inner self, and lofty as Beethoven's flights
invariably are, it is none the less the humanity of the
„. . man that is making itself heard. The
&u™n 'Eroica,' 'Fifth,' 'Pastoral' and 'Ninth'
^- . Symphonies are distinct tone portrayals

bringing out this humanity, although all his
intentions have not yet found a solution, despite his
many readers and interpreters. There is no doubt that
everyone of Beethoven's compositions — especially his
more serious works — has a tale to tell, since this principle
of expressiveness was the key-note of his life's work.
Nothing in the shape of technical resource was divorced
from his work on its account — indeed, it led the com-
poser to be more precise, more prone to exact the very
utmost from the least idea that, to his mind, was worth a
place in his memoranda books. This vast mastery of
detail in working, unparalleled in the case of any master
before or after him, together with his extraordinary
emotional power and daring freedom, whether in the
conception of advanced tonal ideas, or, in a lesser degree,
in the handling of this or that form of instrument, these

232

Legitimate Style

sum up the main artistic conditions of Beethoven's
wondrously powerful and original musical mind. What
else followed was inevitable — whether this be his new-
born melody, harmony that already translates us to the
eternal spheres, logical formations, or majestic complete
organisms like the symphonies, in which alone his extra-
ordinary powers seem to be at all at a tension.

And all this vast intellectual philosophy — the paramount
feature of Beethoven's music — be it remembered has been
imparted with scarcely a single slight, much less offence or
crime, against Music's forms. Wagner broke the barriers
of many technical forms, and knocked over accepted art-
methods and traditions like skittles. Not so Beethoven.
His great emotional flights, his originality of invention, his
scientific modulation and abstruse workings have all been
attained upon wonderfully legitimate lines. Beethoven
was no iconoclast. He kept the old methods and
models, but said infinitely more through them than anyone
else before or since. He broke no images
in order to set up something revolutionary
of art. The seeker after some new thing in
music may find straws to catch at here and
there in Beethoven's scores that may seem to
advance some pet theory of his own, but on the whole
Beethoven's compositions are wonderfully consistent in
their adhesion to the strictest canons. Indeed, considering
the extraordinary development which subsequently took
place, it is simply amazing how naturally and logically
his early instrumental forms tack on to those of his two
great immediate predecessors, and seem to be the natural
— the only continuation of things musical. He accepts all
that they employed, but the results of working between

233

Legitimacy

of Style

and

Practice

Beethoven

them stand in comparison like Snowdon and the Matter-
horn. Beethoven takes up where Mozart and Haydn
laid down, and though such possibilities as Beethoven
has expressed existed, it may be, in the minds of the
former, the psychological moment in Music's fullest
expansion was from Creation's morn deferred until it
manifested itself so openly in Beethoven.

As we have seen from our necessarily brief survey of
Beethoven's works, his genius led him to favour especially
the cultivation and development of such great instrumental
forms as the symphony, concerto, overture and sonata;
and of these his greatness was particularly employed — if
such a distinction need be made — on the symphony and
sonata. In these we find Beethoven not merely the vast
musician, but also the logician and the rhetorician, with
a great deal to say of an original order ; which accounts,
perhaps, for his winning the reputation of being an art
innovator. With the sonata form prepared before him
he chose this — the most symmetrical and elastic vehicle
through which to express thoughts which, like his musical
workings and expression, soon proved to be grander and
broader than the world had known before.1 The old lines

1 Wagner correctly describes Beethoven as a composer of sonatas,
because " the outline of the sonata-form was the veil-like tissue
through which he gazed into the realm of sounds. . . . For inas-
much as he again raised music, that had been degraded to a merely
diverting art, to the height of its sublime calling, he has led us to
understand the nature of that art from which the world explains itself
to every consciousness as distinctly as the most profound philosophy
could explain it to a thinker well versed in abstract conceptions.
And the relation of the great Beethoven to the German nation is based
upon this alone." — " Beethoven," by Richard Wagner, p. 41.

234

Expansions

which had served his predecessors answered all his pur-
pose,1 until he found that to adequately express himself
he must enlarge and modify them. Then, he expanded
art as no man else has ever widened it, not omitting, as
he broadened out, to invest the structure with ample body
and texture. He worked not only on the external but the
internal phases of music. Musical thought was to him
more than it had been to any of his predecessors, and,
when he found that the materiel of music was inadequate
— even the pianoforte was too short for him — he stayed
not, but created music which soon set the instrument
makers as well as the performers at work. Hence his vast
tonal flights : hence his mighty achievements in the great
school of instrumentation which Bach and other lights of

Northern Germany founded, and which has „ ,

, -p, ., Expansions

been promoted by no one as by Beethoven. *, ^
/- T> u I c • i of Forms

Great even as Bach was as a master of musical

technique, he was overshadowed by Beethoven, while
Wagner as an instrumental musician has far from rivalled
the composer of the ' Choral ' Symphony.

Beethoven was not one who created any such distinct
forms as Bach did in his Passion-Music settings, but he
accomplished tremendous things in carrying the art on
from where he received it from Mozart and Haydn.
Even a slight acquaintance with their respective works will
bring the conviction that Beethoven has all the vivacity
and conciseness of Haydn added to a greater and grander
breadth of style, with infinitely more ' working out,' than is
anywhere noticeable in the " Father of Symphony." His
inexhaustible imagination and power of conception, his

1 See such works as the Sonatas, op. 7, IO, No. 3, and the Coda
of the Finale to the " Second " Symphony.

235

Beethoven

fine sentiment so full of solemn emotion (the first real
sentiment of great quality ever imparted to music) com-
bined with this minute working — all this raised upon the
Haydn-Mozart lines have made modern music what it is.
Most readers are familiar with the pianoforte sonatas of
these three masters. They have only to be compared to
discover (despite Beethoven's mechanism being influenced
by the eighteenth-century schools) how those of the two
older masters fall far short of that emotional intent and
variety of technique which lift Beethoven's above anything
of their kind.

It is Beethoven's own independent style, the strongest
element in which is that inimitable metaphysical quality al-
ready touched upon, that raises him to so high a pinnacle
among the masters of creative art. His technique was
fresh and exciting indeed, but it is the soul, the verve of
Beethoven's style which has made his music, whether in
its simple or most abstruse instances, so universally accept-
able and so convincing as true art. There are other
qualities attaching to it, notably that irresistible force
especially noticeable in the Finales of his symphonies, but
these lesser properties must be left in face of our broad
reference to his grand general manner.

This lavish expenditure of imaginative emotion to which
we have alluded, which comparatively early characterised
Beethoven's writings, has left him the great prophet of
Romanticism in music. But for Beethoven, the romantic
style in art, as we know it, would probably never have
obtained, in which case a great element would be missing
from our art surroundings and divinings. Little wonder
that factions of classicists and romanticists have grown
around such an exemplar, and that both are equally

236

Beethoven's Father

Painstaker

eager to claim him as theirs — the exact embodiment of
all that they profess and desire in art.1

Attention has already been drawn to the painstaking
nature of Beethoven's work. No trouble was too great
that could make his music — the expression of his august
mind — more noble, more truly refined or that could add
to its beauty. It was no accident that made his music
what it is, whether we gauge this by the ears of the
comfortable auditor or by the acute analysis of the
critic and specialist. Some mlg^t be tempted to think
that his glorious pre-eminent position was the result of
some sort of 'luck' or of some sudden impulse or
impromptu effort. Nothing of the kind. It is all the
effect of enormous care and infinite labour. There is
scarcely a bar of his music which he did not improve
over and over again, until some bars have been written
as many as ten or a score of times. His choicest themes
are apt to appear at first in what might seem to be a
mere commonplace form, but by repeated touching and
re-touching they are brought to their present beautiful
and eternal shape. Striking indeed must have been
the patience of this remarkable man. As his works
became more familiar to us, and his scores become
easier of access, we can realise the sort of p .

feeling which must frequently have over- ,.

taken Beethoven. That he desired to make TT, \

,. irr- ji -.LU j • ^ i-- r 11 Workman-

himself friendly with, and instruct his fellow- , .

men can easily be realised from his com- '

mendable patience in the matter of the ' Leonora ' Over-
tures— no less than four of which he wrote to satisfy

1 See Riehl's "The Two Beethovens" for an exposition of this
matter.

237

Beethoven

the taste of a tyrannous public. Who is there at the
present day, and with less genius than Beethoven, who
would thus strive to bring his music within the demands
of his critics ? The same attention was shown every-
where and in everything. No one before him was so
careful, for instance, to mark the intended pace or the
changes of expression, in the minutest nuances, or to
see that his publications were correctly printed. Beet-
hoven's ' Sketch-books ' are the best memorials of his
industry and manner of working. From them we see
how insatiable he was in touching up and polishing
his work until it assumed the shape in which he wished
to give it to the world — when, although so worked
upon, it comes before us as a perfectly spontaneous
effort. And, as has been well said, " when he has found
the proper vehicle for his thought, he is never weary
of repeating it, until as in the 'Pastoral' Symphony,
the music seems to consist of a continued reiteration
of a few elegant ideas."

Chamber music — that is all that great class of music
peculiarly adapted for performance in a room — was greatly
enriched by Beethoven. Haydn and Mozart — not to
travel so far as the Italian, and even English masters —
accomplished wonders in this direction, but Beethoven
has surpassed even their splendid results. To him the
string quartet afforded a channel for the expression of
many of his grandest thoughts. Growing more and
more upon him, a culminating point of absolute per-
fection is reached in the works of his later years —
many of them treasures which no time or frequency
of performance will ever mar. In this department,

238

Chamber Music

indeed, Beethoven is unequalled, unsurpassable, match-
less. The Trios furnish the most perfect example of
the union of three instruments in the whole range of
music. His sixteen Quartets for Strings eclipse all
similar compositions. The last four may not be so
familiar as their predecessors, but every real student
of this, the most enjoyable of all musical exercise and
practice, knows of them and cherishes them beyond
measure. The chaste domain of the quartet supplies
the exact area for the adduction of convincing evidence
of Beethoven's powers as a faultless harmonist. Irre-
proachable four part writing and the most delicate
adjustment throughout are among the conditions de-
manded. Beethoven could rise supreme .

here, as these famous quartets show. Wher- „, ,

j -4. -11 u A- Chamber

ever search is made it will be to discover ,.. .

that his four part writing therein is simply ~

r , o u ,.i_- • • i "1 Composer

perfect. Such a thing as a principal part

is out of the question, but all is weighed and adjusted
with the nicety of an apothecary's balance. In no
other similar compositions are the parts distributed with
such exquisite delicacy; and nowhere else, certainly,
can be traced such splendid evolutions of counterpoint.
Nor is it the terse part writing alone that is so surpassing.
The clear design, the profuse and rich ideas and in-
numerable manifestations of profoundest thought and
originality stamp these examples with an imprimatur
which will never be erased nor imperilled — while minds
and instruments remain to expound such absolute
masterpieces. The Rasoumowsky set of three, op. 59,
are generally allowed to bear the palm for grandeur,
and Mendelssohn was wont to say that of these —

239

Beethoven

the F,1 and the F minor, op. 95 were the most
Beethovenish of all the composer's works. The one in
E minor, No. 8, op. 59, however, has a huge following
of admirers. So, too, has the one in C sharp minor,

op. 3 1-2

The world has had no Sonatist like Beethoven, and
how adequately the distinction applies to him as a Sym-
phonist ! Who before or after him has approached his
sublimity of idea, his aspirations towards undreamt-of
realistic expression, his almost super-human workings,
or who has bequeathed us the splendid culminations
which compel our admiration and wonder when his God-
given powers have been expended on one of his mighty
symphonic creations ? Mozart, Haydn, Schubert and
Schumann are great indeed as symphonists, but all lie
low by the side of Beethoven. If he had written nothing
but the C Minor, it would have been enough to have
given him a place above every instrumental composer.
As it is, no music painter has given to the world such
stupendous or original and momentous tone actualities
as he, whether these are of the epic or the dramatic
order. All of them are unsurpassably beautiful expres-
sions of life and nature as Beethoven experienced and
regarded these. Any one of them would not inaptly
pourtray a period or more in the composer's own life;

1 This is the one which B. Romberg is credited with throwing to
the ground and trampling upon as unplayable. On another occasion
— in 1804 — he took Spohr seriously to task relative to one of the
six, op. 18, asking him how on earth he could play such stuff.

2 The music which Schubert last heard, and which so moved him
when Holz took him to hear it that he got into such a state of
excitement that his friends grew alarmed.

240

Sonatist

or, taken together, these majestic tone poems — with all
their comedy and tragedy, their passionate -, ,
battlings and gloomy chequerings, from which ./

Beethoven knew he must some day emerge 0

u j.i • . • _i j i- . • Sonatist

triumphantly victorious — they delineate in no

feeble or uncertain colours the vicissitous life that fell to
his lot. They are played more than ever to-day, and
form the mainstay of the best orchestral concerts.

Beethoven's Pianoforte Sonatas are the food of the
greatest executants and humblest students and amateurs
alike. No player, no listener, has ever been found to
tire of them. No pianist who has Bach's " Forty-Eight "
Preludes and Fugues in the Wohltemperirte Clavier and
the Beethoven Sonatas on his desk, and can grapple with
them, requires more, for therein lies the sum of all music.
They furnish the Alpha and Omega of musical art, meet-
ing the tastes and capacities of youth and old age, and
satisfying alike the pedant and the dilettante. These
works have been aptly styled the " Old and New Testa-
ments of all serious musicians."1 Certainly they are as
daily bread and closest tie to all thinking musicians —
whether amateur or professional — and it will be a long
day in the world's history before they are superseded by
works more staple or sustaining. Beethoven was the first
to take the Sonata out of the sphere of precise formalism
and infuse into it the warmth of human emotion. Hitherto
it had appealed only to polite circles. Beethoven shaped
it for the wide world, and to its cold formal basis added
such a superstructure of expression of every degree as to
amaze mankind of his own day and all who have followed
them, This great step constitutes him the maker of

1 Naumann.
Q 241

Beethoven

modern music — that art work which raised music into an
intellectual, human, as distinct from a purely mathematical,
element. His Sonatas are complete — perfect organisms
reflecting and conveying, to all who can fathom them,
most potent messages and secrets of one great heart and
soul to the minds of all others. Thus these pianoforte
compositions become and remain the grandest, as they
are the richest and most perfect works of their order.

Where all are such beautiful compositions it is all but
heresy to single one out from another — particularly as
admirers can be found for each one of them. No piano-
forte player can fail to be particularly impressed, however,
with the A flat major Sonata, op. 26, with its grand
" Funeral March " and " Variations " in which Beethoven
so richly excelled ; or its neighbour in C sharp minor — the
" Moonlight," op. 2 7 — unquestionably a " tone poem of
entrancing merit." The grand, mysterious nature of the
D minor Sonata, No 5, op. 3I,1 which work Beethoven
told Schindler was suggested by Shakespeare's Tempest;
and the fantastic vigour and exuberance of its associate —
the E flat major Sonata, No 3 — render them great favour-
ites. The " Waldstein " in C major, op. 53, which has
been well said to contain as much intensity "as would
suffice for a Symphony"; the charmingly serene work In
F major, op. 54 ; the universally admired " Appassiona a"
in F minor, op. 57, wherein Beethoven seems to pour
forth his fiercest soul fires ; — these are all works which

1 The varying numberings of Beethoven's works, in the numerous
published editions, has caused much unnecessary confusion. The sub-
ject has been touched upon by Mr J. A. Fuller-Maitland in the " Dic-
tionary of Music and Musicians," vol. ii. p. 582. Nottebohm's
Catalogue numbering has been followed in the present work.

242

Pianoforte Sonatas

stand out even from among Beethoven's glorious catalogue
of Sonatas for the clavier. The Sonata in E minor, op.
90, is one wherein Beethoven's influence upon this form is
particularly noticeable ; wherein also as in the A major,
op. 1 01, Mendelssohn's style is clearly anticipated. Grand
and distinctive works — illustrating most emphatically
Beethoven's master hand, especially in the "Variations"
— are the three Sonatas in E major, A flat major, and C
minor — the last Sonata, ops. 109, 1 10, and 1 1 1 respectively.

Beethoven's impress upon the Sonata form consisted
principally in the varied interest he threw into it. The
elasticity which he imparted to its early stiff, rigid form
gave it practically a wholly new character. This he
brought about mainly by a profuse exercise of ingenuity
in working out his subjects ; by varying his themes when
repeating them, and thus avoiding monotony; also by
investing his subjects, when once introduced, with intense
contrapuntal treatment and therefore interest. Over all
this lay the counterpane of his matchless, absolutely
peculiar individual emotional tone and expression.1

Beethoven's method of working is interesting enough.

1 Wagner cites Liszt as an ideal player of Beethoven's piano-music ;
and goes on to say, " I have ascertained beyond a doubt, that, in
order to reproduce Beethoven, one must be able to produce with him.
It would be impossible to make this understood by those who have,
in all their life, heard nothing but the ordinary preformances and
renderings by virtuosi of Beethoven's work. Into the growth and
essence of such renderings I have in the course of time gained so sad
an insight that I prefer not to offend anybody by expressing myself
more clearly. I ask, on the other hand, all who have heard, for
instance, Beethoven's op. 106 or op. 1 1 1 (the two great Sonatas in B
flat and C minor) played by Liszt in a friendly circle, what they previ-
ously knew of those creations, and what they learned of them on these

243

Beethoven

He began from the first making notes and memoranda
of everything that might prove useful or that apper-
tained to his art. Thus, the " Sketch-books," l with which
talented and industrious experts like Nottebohm and
Thayer have familiarised us, are especially valuable.
They contain scraps, not merely of his own ideas, but
those of others. Bach, Handel, Mozart, Haydn — all in
turn were worth 'making note of.' His own notes —
frequently the most scanty memoranda and almost un-
intelligible to anyone but himself — have proved to be
(now that the scores themselves are published) the germs
of many of his grandest works. Equipped with such
reminders, he went off by himself, sometimes to his
lodgings, but generally to the fields and secluded country
spots, and there, note by note, built up the vast struc-
tures which arouse the wonder of every generation of
musicians as it comes and goes. The close and detailed
character of his music — its most prominent characteristic
next to its sublime feeling and bearing — was the outcome
of his method of working. Like Bach, he did not write
„, to merely exhibit the skill of the performer,

. . , but to draw out the ripest expression of his

tStXS Of words and sub:ect The flori(j and hi hl

Stvle and r , • , •

J . ornamental passages arose from his being

able to see so many possible ways of view-
ing an idea. Indeed, in this development of idea he
occasions ? If this was reproduction, then surely it was worth a
great deal more than all the Sonatas reproducing Beethoven which
are " produced " by our pianoforte composers in imitation of
those im perfectly comprehended works. " Dictionary of Music and
Musicians," vol. ii. p. 147.

1 Some of these are to be found in the British Museum and Berlin
Royal Libraries.

244

Workmanship

eclipses every composer. He toys with a figure until it
seems impossible that he can, cat-like, play with his
mouse longer ; when he turns round and makes the
figure serve as an accompaniment to some new phrase.1
Never has there been a master who, from such slender
materials, has, by sheer patient handling and delicate
manipulation, raised such colossal monuments of art out
of apparently nothing. Happily has he been styled an
" architoniker " — such was his wonderfully scientific art
of building up his themes and movements.

Too numerous to mention almost are other charac-
teristics of Beethoven's style and workmanship. His
methods of modulation are as new as they are sur-
prising and arresting ; his part writing is as pure as
crystal ; his use of the crescendo, constant as it is, never
palls, because the results obtained are invariably ad-
mirable in the extreme. The manifold instances through-
out his works of the use of varying and specially strong
rhythms leave him with no equal as an exponent of the
power of rhythm in composition. Schumann approaches
Beethoven in this direction, but no one has equalled him
in his humorous rhythms, syncopated passages, and
eccentric displacings of beats. Then there are his
novel expedients with syncopation effects; happy ideas
like the substitution of the ' interrupted ' cadence for the
' perfect ' ; his captivating use of the ' mordent ' and
'pralltriller' graces, or 'morendo' and 'smorzando' effects —
all of which tend to make his music the delight of the
student and the charm of the listener. In consequence
of his habit of writing everything himself and leaving

1 It is this anxiety to arrive at the fullest possible artistic expression
which leads to the difficulties of execution in his music.

Beethoven

nothing to the whim of the performer, his music teems
with the most delicate ornaments and marks of expression.
It is a fine study to examine his works, especially the
later ones, and count the number of expression marks,
appended no doubt from the composer's anxiety to secure
that proprio e proposto effetto which was ever so dear to
him. Nor can other splendid features escape notice.
The piquant grace of his science, especially in his fugatos,
is particularly alluring. Not less so are the melody and
harmony, whether vocal or instrumental, or such grand
effects in Recitative as in " Ah, perfido ! " Never was
there work which, beyond its profundity and beauty,
affords such constant instances of superlative effects
altogether unknown until Beethoven beautified his music
therewith. What wonderful Pedal points, for instance,
are his ! Whether ornamented or not, they stand unique
in musical art — say one in the Finale of the C Minor
Symphony.1

In several respects Beethoven modified the formal face
of music, either improving existing forms or providing
new ones. Thus he extended and gave considerably
greater prominence to the " Introduction " of the sym-
phony, introducing episodes in the working out, and
extending the key varieties of the movements. What
Bach accomplished for the Chorale Beethoven did
for the 'Variation' form, taking a very free view of its
limits, and they have had no successors in these two
particular branches of music. Then, if Beethoven
did not greatly re-model the Rondo, he studded it with
such delicate, fragile embellishments as to improve its

1 Wagner's famous Pedal note of 136 bars in the Prelude of "Das
Rheingold " comes to mind here.

246

Beethoven's Mother

Impress on Music

character and enhance its beauty almost out of know-
ledge. The Scherzo we owe entirely to Beethoven. He
gave it that permanent place which it occupies in the
so lata and symphony. Whatever may have existed
before in old Italian masters in the shape of jest-like
movements, whatever Haydn and Mozart may have done
to animate the Minuet, no one except Beethoven found
the true Scherzo, that strict-form, piquantly humorous,
movement which affords such welcome diversion wherever
it appears in his works. In Beethoven's hands also the
Coda assumed importance. Instead of remaining a
matter-of-course tail to a composition, Beethoven made
it a part of the aesthetical plan of the work, with a bearing
upon what had preceded it.

In numerous other ways did his genius impress art.
There are, for instance, his improvements in the tutti and
solo parts of the Concerto — a notable example is the
Pianoforte Concerto in G (No. 4) — whereby both solo
instrument and orchestra are better served and better
pleased. Under Beethoven the solo instrument gets more
prominence than formerly, and instead of the orchestra
opening with a tutti, the first hearing falls to the good
fortune of the solo instrument. His marvellous variety
in obtaining Accent — sometimes anticipating, at others
throwing back — or, if not this, obtaining it by syncopation
— all this is Beethoven's.

It was not any serious alteration in the form of his
Symphonies and Sonatas so much as the detail, temper,
and work which he put into them that lifts these works so
high above everything of their class, just as it is the great
beauty, purity, and ingenuity of his Chamber-Music, and
not any new shape which wins for it universal admiration.

247

Beethoven

He put a new face on the Overture, however. This was
a poor thing until Beethoven handled it, and from
Mozart's model led us up to such glorious conceptions
as the Prometheus, Coriolan, Egmont, and Leonora x Over-
tures, works wherein perfect workmanship and dramatic
expression reach their highest acclivity.

There is a solitary example only whereby to judge of
Beethoven as an operatic composer. As a sample of the
attainment of dramatic truth, combined with masterly con-
struction and a rare grasp of human interest, it indicates
what was possible even in this direction ; but Beethoven's
genius was more symphonic than operatic, and it would
be dangerous to maintain that he was gifted with an
instinct for the stage equal to that of Mozart and Wagner.
It was a great step which Beethoven took in Fidelia, how-
ever, towards the advancement of opera as required to meet
modern ideas, so that in any consideration of the develop-
ment of that form of art, Beethoven's part in its expansion
will always require to be remembered.

In the world of Song he accomplished much. He
invented the Song Cycle, and his Liederkreis stand out
from anything of their kind. The Liederkreis is a cycle,
or set of songs, having the same subject — the series form-
ing a complete work. Beethoven's op. 98, a set of six songs
with words by A. Jeitteles, appears to have first introduced
the Liederkreis in name and form. His early songs, such as
" An einen Saugling," " Molly's Abschied," etc., need
declaiming rather than singing; but such fine lyric set-
tings as those to Goethe's words — ops. 75 and 83 — are
matchless. In George Thomson's collection of national
songs he arranged some forty Scotch airs, and nearly thirty
1 Nos. I, 2, 3 in C, and Fidelia in E.
248

1 Three Styles '

Welsh melodies. "An die Hoffnung" he wrote speci-
ally for Franz Wild: he also set "The Last Rose of
Summer."

More than all, however, does Beethoven stand out as
the master in whom instrumental music fulfilled its
highest ideal — the composer who of all others vindicated
the true spirituality of music. Neither before him nor
since has there been such an exponent of thematic music
— one who giving full vent to his thematic play could
build a gigantic movement out of merely an " idea " of four
notes — as say in the opening Allegro of the " Fifth " Sym-
phony. His vast achievements as a tone-architect
place him on a footing with the world's foremost men —
the leader in the department in which he worked. His
great enterprises — as astonishing in their wondrous detail
as they are in their colossal dimensions — may be ranked
with the deeds of the world's chief men of action and
progress.

In the Bibliography will be noticed a work, " Beethoven
et ses trois Styles," which goes fully into a question — sub-
sequently much debated — of the composer's so-called
three styles, but a brief explanation of the subject here
may not be undesirable. What is meant by the " three
styles " is the varying character of Beethoven's music, and
the three periods into which his long list of compositions
either resolve themselves, or may be allocated at the will
of the critic and musical analyst. Schindler and Fe"tis, for
example, adopt this classification. To the First Period
belong these works which were composed before the
'Eroica' Symphony, 1803, and in which Beethoven is
clearly under the influence of, and writing as Haydn and

249

Beethoven

Mozart wrote. The works of the next ten years, i.e. to
1813, come under the Second Period, when he is striking
out a path for himself and expressing his ideas after his
own fashion and genius. This was the time of his most
finished, if not most momentous work, and includes the
A major Symphony, Mass in C, Fidelia, the Egmont music,
two Sextets, "Variations for the Pianoforte," etc. — broader,
stronger, deeper coloured, and more beautiful work than
preceded it. To the Third Period belong the scores of
the last thirteen years of Beethoven's life. The works of
this closing period, while being tinctured with a peculiar
mysticism and unearthly sentiment, are the profoundest

D ., , that came from his pen, and include the
Beethoven s , XT. ,,, 0 , ,,r ,1 ^ ,, ,

" Th Ninth ' Symphony, the Mass in D, the last

cy / » Quartets and Sonatas. These were the out-
pourings of the saddest, darkest years of
Beethoven's life, when more than one cruel disease had
made sad havoc with his body, and his mind had become
disarranged with long-continued worry and disappointment.
They have been pronounced " obscure," " abstruse," " cap-
ricious," " meaningless " and " aimless," " difficult to play
and to understand," " perversely extravagant," all of which
epithets are as undeserved as they are reckless and mis-
leading. These maturest works are admittedly extreme in
their diction and meaning, but they are surely something
more than the well-intentioned efforts of a constitution
broken down physically and mentally. Beethoven's im-
paired health had not impaired his muse, and if his
physical powers were on the wane, we have proof here
that his spiritual capacity was growing more magnificent.
Fortunately, almost a century of years has broadened
men's minds and comprehension in matters of musical

250

Schopenhauer

art, as in everything else, so that to-day the efforts of
those who have devoted themselves to the elucidating and
familiarizing of Beethoven's later writings have been re-
warded by an almost universal acceptance of the master's
every thought and idea. It is now pretty generally ac-
cepted that however deep and seemingly inexplicable
these works are, they yet abound in more than the
average intellect can wholly perceive and bring out. This
lies chiefly in their psychological import and emotional
intent. Technically, the works can be rendered almost
perfectly — far better, certainly, than Beethoven ever heard
them ; but the best performances always leave something
to be desired, and this is the full poetic justice as intended
by Beethoven. We may hear a Beethoven symphony
performed and receive impressions, but these are never
twice alike, nor are they identical in any two individuals j
and the question arises, therefore, whether there is not
still more in Beethoven than we have dreamed of in all
our philosophy. Here and there Beethoven named a
work, but these instances are very rare. What a world of
enquiries yet remains unfathomed, therefore, in each one
of his thousands of subjects and episodes !

Beyond doubt Beethoven saw in music a constitution
and nature entirely different from that of poetic or plastic
art — opening a path for Schopenhauer's spirit and reason-
ing. The philosopher determined it imperative to recognise
in music itself an idea of the world, since whoever could
completely elucidate music, or rather translate it into
rational concepts, would at the same time have produced
a philosophy explaining the world.1 This is what Beet-
hoven realized. Like Wagner, he thoroughly compre-
1 Die Welt ah Wilk und Vorstellung.
251

Beethoven

bended the proper position of music with reference to the
other fine arts.

That the whole world of music makers and music lovers
has benefited mightily by Beethoven will be readily con-
ceived. To fully discover how many composers have
been influenced by him, too, would be almost startling.
Among the prominent men, one at least — Mendelssohn —
stands, beyond doubt, indebted, since his system of or-
chestration is based upon Beethoven's ; while he is incon-
testably under obligation to the Bonn master for not a
little of his " style." Not a few passages in Schubert's
music show the strong influence which Beethoven
exercised over him — a notable instance being the slow
movement of the Duet for the Pianoforte in C, op.
40. Wagner would never have been Wagner without
Beethoven, and it is extremely doubtful whether, but for
being inspired on hearing the 'Ninth' Symphony, he
„„ would ever have written the Eine Faust

Overture or other orchestral works. It was
the high ideal of Beethoven's music, too, which Wagner
claimed for the realisation of his dreams of a national
opera. Weber, Spohr, Schumann, Lachner, Brahms,
Raff, Rubinstein, and a host of others have followed and
imitated Beethoven; yet all their combined efforts have
not resulted in the extension or improvement of the forms
of music as he left them, nor has any one of his successors
said anything so good and fresh as he said it

Appendix A

BIBLIOGRAPHY

THE Beethoven bibliography as might be supposed is most
voluminous — comprising books of biography, critical and
analytical deductions, letters, catalogues and more or less
extensive articles on every possible aspect of the man and his
works — the whole amounting to a literature which for extent
is equalled in the case of no other composer and is only
approached in the instance of Wagner. Not a history of
music has been written since Beethoven's day without a large
share of the space being devoted to him. No other great
tone-poet has provided so fertile a subject for the pens of
those who delight to narrate the lives and distinguish the
artistic characteristics and mannerisms of these saviours of
our somewhat defective race, as has Beethoven and his
environment. And men and women will go on writing and
pondering about this sun of the musical firmament down to
the end of time. It is impossible to conceive that it can be
otherwise, just as it is impracticable to determine that he can
ever be dethroned from his high musical state. The study of
music as it is found in Beethoven supplies us in itself with a
life-long task: to accomplish this, and then to do as the
glorious Bonn master has done with the view to surpass him
— surely for such a labour seven life-times are needed, even if
Nature has not closed the womb that gave us the Cyclops and
the giants of intellect and art. On this account, if on no
other, it may safely be predicted that for many and many an
age to come every litterateur touching music with his pen will
find in the scores and personality of Beethoven an absorbing-

253

Beethoven

inexhaustible subject which will command a ready interest
for almost everyone — cultivated sufficiently to understand it —
of whatever age it may be the good fortune of these labourers
of the pen to serve and instruct.

The following list contains the more important of the
biographical and critical writings relating to Beethoven. Of
this collection the place of precedence must be assigned, un-
questionably, to the " Life " of the master by A. W. Thayer —
an American who sedulously applied himself to the task of
giving the world an adequate account of the great composer's
career. The work was written in English, but a German
edition under the title Ludwig van Beethoven's Leben was
issued in Berlin in order to court German criticism. It
extends to three volumes bringing the " Life " down to the
year 1816; but, unhappily, the untimely death of the author
prevented the completion of the work, so that eleven years of
Beethoven's career remain untold therein. Another remarkable
work emanates strangely enough from the pen of a Russian
lover of music — Lenz, who wrote Beethoven et ses trois styles.
A great deal is said concerning the division of the composi-
tions of Beethoven into three periods. The idea was not a
new one however. Most musical critics and analysts have a
passion for divisioning whichever master and his music they
undertake to expatiate upon, and Lenz's reasonings are, in
this respect, no more than an elaboration of an idea that was
first essayed by Fetis in his Biographie Universelle article
on Beethoven. Lenz's work brought a rejoinder — namely
OulibichefFs Beethoven, ses critiques et ses glossateurs. The
former author in lauding Beethoven went out of his way to
blame the latter for his inability to appreciate Beethoven's
perfected style. Only a volume would do to hurl at the head
of 'Bruin,' and this was the work referred to. The effort
proved too much, however, and appears to have hastened
Oulibicheffs death. Anyhow he died the year after his
volume had left the press.

Here it is just and right to refer to Sir George Grove's
writings on Beethoven. Space forbids reference in detail
to his invaluable notes and annotations in the Crystal Palace
Concert programmes for so many years past ; but it would,

Appendix A

indeed, be difficult to say too much, or to praise too highly
his admirable article on Beethoven appearing in the initial
volume of the " Dictionary of Music and Musicians." Until
the appearance of that article there was nothing in the English
language which, in the same compass, supplied us with an
equally authoritative, detailed, step by step life of the master.
Fortified with a thorough knowledge of the Beethoven music
and literature, and second to no one in his admiration of the
master, the distinguished author was enabled to bring to bear
upon the article an appreciative power and influence possible,
we believe, in the case of no other native writer. With the
errata (which still needs some few additions) to be found in
the Appendix to the work this article is altogether admir-
able. Nor, among leading books must be omitted the same
writer's "Beethoven and his Nine Symphonies" — in which
these wonderful works, " as great in their own line as Shake-
speare's plays," are analysed and a vast amount of erroneous
editorial garble which had got attached to them has been
sliced away, we trust, for ever. Apart from its great critical
value the volume teems with notes, data, reminiscences and
anecdotes. " Beethoven depicted by his contemporaries "
(Ludwig Nohl) is a notable book. This has been trans-
lated from the German by Emily Hill ; and it can be
safely said of it that, next to Sir George Grove's writings,
no other work exists from which so clear an idea of
Beethoven's personality can be obtained. In it we can
trace Beethoven's career from the cradle to the grave.
Another important book is Wagner's Beethoven, translated
by Edward Dannreuther. This was a contribution to the
celebration of the Centenary of Beethoven's birth.

Teetgen's high sounding work is more startling than valu-
able. Moscheles' " Life is little more than a translation
of Schindler's work ; but the other writings cited in this
bibliographical sketch are all more or less valuable and
essential to any worker desiring a thorough acquaintance with
Beethoven. Wagner has written extensively upon Beethoven.
Among his literary remains published in nine volumes (Leipsic,
1871) much valuable material will be found relating to Beet-
hoven. One of the best short sketches of Beethoven's career,

255

Beethoven

in our own language, is the article in Chambers' Encyclopaedia.
H. A. RudalFs biography in the " Great Musicians " series is
also a good sketch. Another valuable contribution to the
literature of the genius is the article on Thayer's Beethoven
published in Francis Hueflfer's " Musical Studies."1 The dates
of the books show the order of their production.

WORK

AUTHOR

DATE

Biographische Notizen iiber \
L. van Beethoven /

Wegeler-Ries

Coblentz, 1838, 8vo

Biographic von L. van\
Beethoven J

Schindler <

Miinster, 1840, I vol.
8vo

Life of Beethoven

Moscheles -{

London, 1841, 2 vols.
8vo

L. v. Beethoven's Leben

Thayer

Berlin, 1866-72-79, 3
vols. 8vo

Skizzenbuchs von Beethoven

Nottebohm |

Leipzig, 1855 - 1863,
1882, 8vo

Beethoveniana

Leipzig, 1872-1887, 8vo

,, 2nd Series

„ 1875-1879

Beethoven Studien

Beethoven (" Biographic \
Universelle des Musiciens" J

Fetis

Brussels, 1835 - ^44
8 vols. 8vo

Beethoven et ses trois styles

Lenz

St Petersburg, 1852,
2 vols. 8vo

Beethoven, ses critiques et\
ses glossateurs J

Oulibicheff

Paris, 1857, 8vo

Beethoven nach den Schil-

Nohl (trans- "

derungen seiner Zeitgen--

lated by

„ 1877, 8vo

ossen

Hill, i88o)(

Wagner

(translated

Beethoven

by Dann- •

Leipzig, 1870

reuther,

1880)

Beethoven's Symphonies )

critically and sympatheti- >

Teetgen

London, 1879

cally discussed )

i Messrs A. & C. Black, 1880.

256

Appendix A

WORK

AUTHOR

DATE

Beethoven and his Nine \
Symphonies /

Grove

London, 1896, 8vo

Beethoven ("Lexikon ")

Mendel

Eine Pilgerfahrt zu Beet- \
hoven /

Wagner

Leipzig, 1871

Beethoven

Barnard

„ 1871

Briefe Beethovens

Nohl

Stuttgart, 1865

Beethoven (Article in "Dic-
tionary of Music and
Musicians ")

Grove

/London, 1879-89, 4
\ vols. 8vo

"Letters" (from the Col-'
lections of Dr L. Nohl, -

Wallace

/London, 1866, 2 vols.

1 Kvn

and Kochel), 1790-1826

^ ovo

"Beethoven Pianoforte Son- '
atas explained for the •
lovers of Musical Art"

Elterlein-
Hill

Leipzig, 1856^0
London, 1879 j^

The Two Beethovens

Riehl, W. R.

Pamphlets

Beethoven : ein Kunst-studie

Lenz

Cassel, 1855-60, 5 vols.
8vo

Beethoven : a Memoir

Graeme

1870

L. van Beethoven

Wasielewski

Berlin, 1888, 2 vols.

Bericht iiber die Auffiihrung

der neunten Symphonic
von Beethoven im Jahre

Wagner

Leipzig, 1871

1846

Neue Beethoveniana

Frimmel

Vienna, 1888-1890

Zweite Beethoveniana

Rieter-Bi- \
dermann /

„ 1887

Beethoven : Some Thoughts )

on the Man and his >

Bennett

London, 1892

Genius )

L. van Beethoven. Leben \

/ Berlin, 1863, 2 vols.

und Schaffen /

IVLjirx

\ 8vo

Chronologisches Verzeich- 1

niss der Werke L. van >

Thayer

Berlin, 1865

Beethoven's

Beethoven's Leben

Nohl

„ 1867, 3 vols

Beethoven, Sa Vie et ses \
CEuvres /

Barbedette

„ 1870

257

Beethoven

WORK

AUTHOR

DATE

Beethoven : A Memoir

Towers

Beethoven's Studien

Die Beethoven Feier

Nohl

Vienna, 1871

Neue Briefe Beethovens ^

nebst einigen ungedruck- 1
ten Gelegenheite com- j

Nohl

Stuttgart, 1867, 8vo

positionem }

Beethoven in Paris

Schindler

1842

Beethoven, Thematic Cata- \
logue of the works of /

Nottebohm

Leipzig, 1868

Briefe Beethovens

Kockel

Vienna, 1865

"Aus dem Schwarzspanier-
haus "

Breuning,G.\
van /

„ 1874

In addition to the writings mentioned the British Museum
Catalogue contains the following list of works bearing upon
Beethoven and his compositions : —

WORK

AUTHOR

DATB

Biographische Skizze

La Mara

Leipzig, 1870

» >»

Killer, F.

Biographical Notice

Maltitz, G. A.

Leipzig, 1855

Details Biographiques

Anders, G. E.

Paris, 1839

Biography

Ball, T. H.

London, 1864

L. van Beethoven : Sa Vie \
et ses CEuvres /

Audley, A.

Paris, 1867

Lebensbild

Buchner, W.

Lahr, 1870

Erinnerungen

Breuning, G.
van

Vienna and Leipzig,
1874

Lebensbild

Jahn, C. F.

Elbing, 1870

Beitrag zur Sacular — Feier \

des . . . Tondichters L. >-
v. B. }

Evels, F. W.

Bonn, 1870

Etudes de Beethoven

Fetis

Paris, 1833

The Mount of Olives

Smart

Liverpool, 1814

Hundertjahrige Gedacht-
nessfeier

Graedener, )
G. P. j"

Hamburg, 1871

258

Appendix A

WORK

AUTHOR

DATS

L. v. Beethoven's Studien in ^

Generalbasse, Contra- >

Seyfried

Vienna, 1832

punto, etc.

Biography

Clement

Paris, 1882

Gerhard

1892

Mastrigli

1886

Mensch, G.

Leipzig, 1871

Muelbrecht.O.

„ 1866

{

Niederges- \
aess, R. /

Vienna, 1881

Ortlepp, E.

Leipzig, 1836

Polko, E.

Pompery, E.

Paris, 1865

Rees.C.F.van

Deventer, 1882

Rio, F. del

Leipzig, 1875

Roger, L.

Paris, 1864

Sauzay, E.

„ 1861

Egmont

Goethe

1863

Drei und achtzig neu aufge- \
fundene Original-Briefe /

Vienna, 1865

Briefe Beethovens

»»

Stuttgart, 1865

Neue Briefe Beethovens

.. 1867

Beethoven's Brevier

»»

Leipzig, 1870

Briefe von Beethoven an \

_ Oy"»_

Marie Grafin Erdody /

„ 1867

"Fidelio"

Berwin

1886

Other authors upon Beethoven and his works appearing in
this Catalogue are Wagner (F.), Bischoff, Deiters, Virchow,
Schlosser, Waldersee, Rudall, Tengen, Scheelund, Holtzen-
dorff, etc., etc.

Much relating to Beethoven has appeared as might be ex-
pected in such continental musical journals as the Deutsche
Musiker Zeitung, Neue Zeitschrift fur Musik, Allgemeine
Musikalisches Zeitung ; and also in some of the French papers
devoted to the art. So far as Great Britain is concerned, how-
ever, no journal has published such valuable contributions on
our subject as the Monthly Musical Record. These articles are

259

Beethoven

so valuable and many-sided that no apology is needed for
supplying a list of them — from the start of the paper up to
the present time : —

WORK

AUTHOR

DATE

fLt. H. W. }

Beethoven's Trio, Op. 97

-I L. Hime, -

June 1871

IR. A. J

Aug., Oct. and Nov.

»»

Symphonies

H. Berlioz •

1871 ; Jan. and Feb.

1872

Festival at Bonn

{

Oct. 1871, July 1890,
July 1893

The Text of

Dannreuther

Dec. 1872

>i >•

Notes on }

Jan. and April 1873

Eroica Symphony

R. Wagner

May 1873

Overture to
"Coriolanus"

July 1873

1»

Variations in '

A Flat from

Sonata, Op.

M ft

Instrumenta-

tion, Wagner -

April and May 1874

Last Days

F. Killer

June 1874

What the Paris ^

Conservatoire >•

Nov. 1874

thought of J

A Pilgrimage to

R. Wagner |

May, June and July
1875

»i

Depicted by his 1
Contempor- V

May 1877

aries

Death

Ludwig Nohl

Oct. 1878

Eighth Sym- "j

phony. Tempo V

A. Manns

Jan. 1878

diMenuettoin J

260

Appendix A

WORK

AUTHOR

DATB

Beethoven's Sketchbooks by 1
Gustav Notte- •
bohm

J. S. Shed-/
lock \

March, April and June
1883

A New Com- \

position of
(Lobkowitz

Dr F. Nohl

Feb. 1882

Cantata) J

As a Humorist

J. Verey

.. 1887

Sonatas, a New \
Edition of /

Niecks

Nov. 1887

Pianoforte \

Feb., March, April and

Variations J

May 1889

Sonatas for |
Violin and j-
Piano

•• {

July, August and Sep-
tember 1890

and Cramer

July 1893

Pianoforte \
Sonatas J

March 1893

Reinecke

July to Dec. 1896

(

Jan. to May, Aug. , Oct.

and Dec. 1897 ;

March, May and

Aug. 1898

Some remarks"

by, regard-
ing the per- •
formance of

E van der \
Straeten /

April 1897

his works

and his Sym- \
phonies /

June 1896

and Marie Bigot

April 1896

Pianoforte
Sonatas

J. S. S.

Dec. 1898

Beethoveniana

J. B. K.

May 1888

Nor have the pages of the leading magazines of several
years past been closed to accounts of the master and his
music. Some of the most valuable of these contributions will
be found in the following periodicals, not a few of which, by-

261

Beethoven

the-bye, have unhappily been unable to survive the change
of fashion and burden of increased competition which have
stepped in upon periodical literature this last half of the
Victorian era : —

Musical Times. Beethoven Atlantic Monthly, 1858.

Number, 1892. Journal of Speculative Phil-
Harmonicon, 1823-1833. osophy, 1868.

Musical World, 1836. Contemporary Review, 1866.

Westminster Review, 1 839, vol. Appleton's Journal, 1870.

32. Argosy, 1870.

Colburn's New Monthly Mag- Orchestra, 1863-1882.

azine, 1840, vol. 62. British Quarterly Review, 1871.

Boston Quarterly Review, 1 840. Fortnightly Review, 1872.

Tait's Edinburgh Magazine, Edinburgh Review, 1873, vo^

1841, 1858. 138.

North American Review, 1841, Macmillan's Magazine, 1876,

vol. 53. voL 34.

Bentley's Miscellany, 1847.

Here, perhaps, is a fit place to lay before the reader a few
extracts from contemporary journalism bearing upon the clos-
ing scenes in Beethoven's life. These admittedly throw little
fresh light upon our subject, but in the case of any great man,
and in this instance Beethoven in particular, it is always well
to know how the press of his period have regarded his decease.
The following extract appeared in the Austrian Observer of
March 22nd, 1827, and was reproduced in the Times of April
5th, 1827 : —

CASE OF BEETHOVEN.

"Vienna, March 2ist. Poor Beethoven has now been
suffering for these four months under a very tedious and
painful disorder, namely, the dropsy, which, if it does not
threaten his life, may for a long time check the exertions of
his active mind. The melancholy situation of this highly
esteemed composer was scarcely known in London, when one
of his warmest friends and admirers, M. Moschelles (sic)
hastened to lay the case before the Philharmonic Society, which
unanimously resolved at a very numerous meeting, to afford

262

Appendix A

him, not only for the moment but in future, all the assistance of
which he might stand in need. In consequence of this resolu-
tion, the Society transmitted to Mr Beethoven, through the
house of Rothschild, the sum of 1000 florins (convention money),
with the intimation to spare nothing that might contribute to
restore him to his health, and enable him to resume his
exertion in the cultivation of his art. It is difficult to describe
the deep emotion with which Beethoven received the informa-
tion of this generous action ; and if his worthy friends in
London could have been witnesses of it, they would have felt
themselves amply recompensed for their considerate liberality.
With respect to medical advice, Beethoven is in the best
hands. The persons who are the most constantly about him
are his early friend, the Imperial Aulic Counsellor, Von
Bremming (sic) (? Breuning) and Mr von Schindler, leader of the
band, who has been for many years his tried and constant
friend, and who regards no personal inconvenience when he
can be of service to him. May Heaven be pleased long to
preserve to us and the musical world in general this unequalled
composer."

The following are further extracts from the same journal
at the time : —

"The German papers which arrived last night, mention
that the celebrated composer, Beethoven, died at Vienna on
the 27th ult., at six o'clock in the evening. The loss to the
musical world is irreparable, and will be heard with universal
regret." — Times, April qth, 1827.

" ' Philharmonic '" in a letter to the Editor remarks : — ' I
cannot help feeling much surprise that the Emperor of Austria,
who professes to be such a patron of music, could have allowed
this accomplished veteran to be lingering in misery at Vienna,
without affording every possible assistance and comfort to
him.'"— Times, April i&th, 1827.

"The file of carriages at the funeral of Beethoven, at
Vienna, was said to be endless. A little more attention to
him on the part of the owners, while living, would have been
more to the purpose." — Times, April igth, 1827.

" Vienna, April 2. Beethoven terminated his earthly career
on Tuesday, the 26th ult., at a quarter before six in the

263

Beethoven

evening. A violent thunderstorm, accompanied by lightning
and hail, occurred during the time he was breathing his last.
On the morning of the 24th, when the feebleness increased
to such a degree, that he himself was sensible that his suffer-
ings were rapidly approaching their termination, he requested
when he should be no more, that his warmest thanks should
be conveyed to the Philharmonic Society, and to the whole
English nation for the attention shown him during his life,
and more especially towards its close. His place of interment
is at Wahring, a village situated a short distance from Vienna,
where his remains repose near those of the lamented Lord
Ingestre. The Philharmonic Society has already had informa-
tion respecting the donation of .£100, which was so liberally
sent him, but which, not being required for the service of the
deceased, will be again at the disposition of its members, who
will, no doubt, appropriate it in some noble manner worthy of
the English nation. The executors have defrayed his funeral
expenses out of the above sum, subject, however, to repayment.
They could not otherwise have conducted his interment in a
manner suitable to so distinguished a man without disposing
of one of the seven bank actions which constitute the whole of
his property. The value of the actions here mentioned,
which are of the bank at Vienna, is about ^1000 sterling, and
some surprise has been expressed that Beethoven, being in
possession of so large a sum, should have appealed to the
sympathy of a foreign nation. Those intimately acquainted
with him, however, and who know his habitual indifference
and neglect of money matters, are of opinion that the fact had
entirely escaped his recollection. Beethoven was never married,
and his property devolves upon his nephew and sole heir." —
Times, April 2otk, 1827.

This reference was made in the Annual Register for 1827 :
— ". . . he was induced in 1809 to accept an offer from the
new Westphalian Court of Jerome Buonaparte, of the situation
of Maestro di Capella. Fortunately, however, for the honour
of Vienna and of Austria, the Archduke Rodolph, and the
princes Lobkowitz and Kinsky, induced him to rescind his
determination. In the most delicate manner those princes
had an instrument drawn up, by which they settled upon

264

Appendix A

Beethoven an annuity of 4000 florins, with no other condition,
than that, as long as he should enjoy it, he must reside at
Vienna, or in some other part of the Austrian dominions, not
being allowed to visit foreign countries, unless by the express
consent of his patrons. Notwithstanding this income, the
latter period of Beethoven's life was passed in penury ; and
early in the present year a subscription was raised for his
benefit in this country. Beethoven had received a regular
classical education ; Homer and Plutarch were his great
favourites among the ancients ; and of the native poets
Schiller and Goethe (who was his personal friend), he pre-
ferred to all others. For a considerable time he applied to
more abstruse subjects, such as Kant's Philosophy, etc.
Although Beethoven was allowed to languish and expire in
poverty, his remains were honoured with a splendid and
ostentatious funeral."

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268

Appendix B

Composed before end
of 1802
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1804
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Composed 1803
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Published 1804

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JuneiSoi (pianoforte
arrangement)
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1797

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INSTRUMEN

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Appendix C

Principal Incidents in the Life of Beethoven

1770. Debated date of his birth, at Bonn on the Rhine,
December 16. (He was baptised on the I7th December.)
The Beethoven family first lived, whilst at Bonn, at No.
515 Bonngasse, and subsequently at 7 or 8 on the Dreieck.

1774. He began to learn music.

1775. The Beethovens removed to 934 Rheingasse.

1779. Commenced his studies under the tenor singer Pfeiffer ;

and at the same time took lessons of Zambona, in Latin,

French, Italian, etc.
1781. Became a pupil of Neefe, who succeeded Van den

Eeden as Court organist, February. In the winter made

a visit to Holland, with his mother, and played at various

private houses.

1783. Neefe appointed Director of both the sacred and
secular music, and Beethoven received the post of
" Cembalist " in the orchestra, with practically the re-
sponsibility of conducting the band, but did not receive
any salary, April 26.

1784. Applied for payment of a salary, but did not meet
with success. Was soon afterwards, however, appointed
Second Court organist, February. [The Beethovens were
now residing at 476 Wenzelgasse.]

„ In the list of his band, issued by the Elector Max
Franz, Beethoven's name appears as second organist at
a salary of ^15 per annum (150 florins), June 27.

1786. Studied violin under Franz Ries (Ferdinand's father).

1787. First visited Vienna. Presented to the Emperor

287

Beethoven

Joseph, and saw Mozart (from whom he received some
lessons).

1787. Death of his mother of consumption, July 17. In this
year he first became acquainted with the Von Breuning
family, and also Count Waldstein.

1788. National Theatre instituted by the Elector. Beethoven
played second viola in both the chapel and the opera,
still retaining his appointment as second organist.

1789-1790. Visited by Haydn and Salomon on their journey
to London.

1792. Again visited by Haydn on his return from London.

„ Left Bonn for Vienna, where he permanently settled,
and took lessons of Haydn and Schenk. (First lodged
at a printer's in the Alservorstadt), November.

„ His father died, December 18.

1793. Went with Haydn to Eisenstadt.

1794. Haydn went to England, and Beethoven studied with
Albrechtsberger (for counterpoint), and Schuppanzigh
(violin). Had useful advice also from Salieri and Aloys
Forster, January 19.

1795. First appeared before the public, with the Concerto in
C, at the Annual Concert for the Widows' Fund of the
Artists' Society, at the Burg Theatre, March 29.

1796. He and Haydn both appeared at a second concert on
this date, January 10.

„ Visited Prague and Berlin. Played at Court, and at

the Singakademie. Met Himmel at Berlin, February.
1798. Introduced to Bernadotte, then French Ambassador.
First difficulty in hearing, singing and buzzing in the
ears.

1800. Gave his first concert for his own benefit in Vienna,
April 2.

„ Again appeared at concert given by Punto, the horn-
player, in a sonata for horn and pianoforte, composed for
this concert. (Living at this time at 241, "in tiefen
Graben," third floor.) First met Czerny, April 18.

1801. Again played his sonata for horn and pianoforte, with
Punto, at a concert for the benefit of the wounded in the
battle of Hohenlinden, January 30. Changed his lodg-

288

Appendix C

ings and went to the Sailer-statte. Took rooms for
the summer at Hetzendorf. Towards the end of the
year his deafness became serious.

1802 (early in). On the advice of his doctor (Schmidt) he
removed to Heiligenstadt and remained there till October.
He here wrote the sad letter to his brothers (dated 6th
October) known as "Beethoven's Will." On returning
to Vienna he removed from the Sailer-statte to the Peters
Platz.

1803. "The Mount of Olives" produced, April 5. Took up
his residence at the Theatre with his brother Caspar. In
the summer went to Baden, and thence to Ober-dobling.

1804. The Theatre was transferred from Schikaneder to
Count von Braun, and Beethoven went to live with
Stephen Breuning— the "Rothe Haus." They had a
rupture, and Beethoven set out for Baden. When he
returned he took up his residence with Baron Pasqualati
on the Molker-Bastion. Shortly after he was reconciled
to Breuning, but they never lived together again.

1805. Journey to Hetzendorf again, June.

„ Met Cherubim in Vienna : also Vogler, July.

1806. In the summer went to the country residence of Count
Brunswick ; and in October to that of Prince Lichnowsky
near Troppau, Silesia. Quarrelled with the Prince, and
went off by night to Vienna, where, on his arrival he in
his fury smashed to pieces a bust of the Prince.

1808. Again at Heiligenstadt for the summer. Received an
offer from King Jerome Bonaparte of the post of Maestro
di Capella at Cassel, at a salary of 600 gold ducats (,£300
per annum), and 1 50 ducats for travelling expenses.

1809. In consequence of this offer the Archduke Rodolph
and the Princes Lobkowitz and Kinsky entered into a
guarantee to pay him an annual sum of 4000 paper florins
( = ^210), March i.

1809. Was the guest of the Countess Erdody, October.

1810. First made the acquaintance of Bettina Brentano, May
Hetzendorf and Baden for the summer and autumn.

1812. Had very bad health, and was ordered by his physician
Malfatti to take a course of the baths in Bohemia. Went

T 289

Beethoven

(via Prague) to Toplitz, Carlsbad, Franzensbrunn, and
Toplitz again, and then to his brother Johann at Linz.
At Toplitz he met Goethe, and also Amalie Sebald. Had
a scene with the Archduke Rodolph.

1813. Went to Baden, and on his return re-occupied his
rooms in Pasqualati's house, May.

1814. Death of Prince Lichnowsky, April 15.

„ Last appearance in chamber music, May.
1814-15. Dispute with Maelzel ; and Kinsky law-suit.

1815. Second quarrel with Stephen Breuning, from whom
he separated for some years. (Reconciliation in 1822.)

„ Death of his brother Caspar Carl Beethoven, who
imposed on him the burden of the maintenance of his
son Carl, then between eight and nine years of age,
November 15.

„ The Municipal Council conferred on him the Freedom
of the City (Ehrenbiirgerthum), December.

1816. Obliged to commence the use of an ear-trumpet.

„ As a result of his intense dislike of Caspar's widow
(whom he called the "Queen of Night") he obtained an
order to take his ward Carl out of her control, and to
place him in a school in Vienna, February. The widow
entered an appeal, and obtained an order for the restora-
tion of the boy to herself, and subsequently Beethoven
appealed against this latter decree and gained his object
(in January 1820).

„ Prince Lobkowitz died. Beethoven's pension reduced
to about ;£iio, December 16.

„ Actual last public appearance, April 20.

1817. Mr Thomas Broad wood presented him with a grand
pianoforte, December 27.

During this period Beet-
hoven was engaged

1818. At Mddling for the summer.

1819.

1822. At Baden.

290

on several important
works, including his
great Mass, the Ninth
Symphony, and the
overture " Weihe des
Hauses," etc.

Appendix C

1822. Philharmonic Society offered him ^50 for MS. Sym-
phony (No. 9).

„ Attempted, notwithstanding his extreme deafness, to
conduct " Fidelio," but was obliged to leave the orchestra,
November.

1823. Commenced the summer at Hetzendorf, but conceiving
a dislike to his landlord, left suddenly for Baden, forfeit-
ing a deposit of 400 florins which he had paid.

„ Visited at Baden by Weber, and his pupil young
Benedict, October 5. Returned at the end of October to
lodgings in the Ungergasse.

1824. Spent the summer at Baden.

1825. At Baden from May 2 till October 15.

1826. His nephew Carl entered the University to study
philology ; tried for his degree ; was plucked ; gave up
literature for trade ; endeavoured to pass the Polytechnic,
but was again ploughed ; attempted to shoot himself, but
failed in that ; was ordered to leave Vienna, and sub-
sequently entered the army.

„ At Johann's house at Gneixendorf, October.
„ Completed a fresh Finale to the Quartet in B|> (his
last work).

1827. In a letter to Dr Bach, his advocate, Beethoven
declares his nephew Carl to be his sole heir and commits
him to Bach's special protection, January 3.

„ The Philharmonic Society sent Beethoven ^100 on

account of a future concert, March i.
„ Assisted by Breuning he added in his own writing a

codicil to his will, making his nephew Carl his sole

heir, but without any power over the capital of the

property, March 23.
„ The Sacraments of the Roman Church administered

to him, March 24.
„ His death at quarter to six in the evening, during a

thunderstorm, March 26.

291

Appendix D

Beethoven Personalia and Memoranda

Adlard (H.). Engraver of the Mahler (Karajan), portrait which
serves as frontispiece to the two volumes of " Letters "
translated by Lady Wallace.

Adlersburg (Dr). Connected with Beethoven's legal affairs.

Albrechtsberger (Johann Georg), b. Feb. 3, 1736; d. March 7,
1809. German writer and composer, who taught Beet-
hoven counterpoint.

Alexander I., Emperor of Russia. To whom op. 30, "Three
Sonatas," for pianoforte and violin, is dedicated.

Alsager (Thomas Massa), b. 1779 ; d. 1846. Founded the
Beethoven Quartette Society, Harley Street, London.

Amanda (Pastor). An intimate friend at Courland, 1800.

Anders. A devotee in Paris.

Annuity. This was granted on March i, 1809. Princes
Kinsky, Rudolph, and Lobkowitz subscribed 1800, 1500,
and 700 florins respectively ; but a depreciation in
Austrian currency reduced this considerably. By Kin-
sky's untimely death his share ceased, and led to a law
suit proceedings, from which a compromise favourable
to the composer resulted. Later on Lobkowitz died,
and Beethoven's income was further affected, calling
forth his violent disapprovals. Eventually, however, all
was made good to him.

Anschiitz. A famous actor who delivered the oration at the
funeral.

Archduke Charles. Victor of Aspern.

292

Appendix D

Artaria (Domivuco), b. 1775 ; d. 1842. Italian, who founded

the noted music publishing house at Vienna.
Atterborn (Daniel Amadeus). Swedish poet, who knew Beet-
hoven in 1819.
Austria, Russia, and Prussia (The Sovereigns of). To whom

op. 136, "Der glorreiche Augenblick," is dedicated.
Ayrton (William, Dr), b. Feb. 24, 1777 ; d. May 1858.

Editor of the Harmonicon ; one of the founders of the

Philharmonic Society ; severe critic of Beethoven.
Barbedette (Henry), b. 1825. Writer on Beethoven.
Barer (Henry). Sculptor of the Beethoven monument at New

York.
Barry (Charles Ainslie), b. 1830. Writer on Beethoven.

Musical Times, 1892.
Barth. Who is reputed to have saved, and first sang

Adelaida.
Baumeister (Herr von). Private Secretary to the Archduke

Rudolph.
Beethoven (Caspar Anton Carl), b. April 7, 1774 ; d. November

15, 1815 (?). Second brother, and father of Carl, the

nephew adopted by Beethoven.
Beethoven Birth House, Bonn, 515 Bonngasse — now the

Beethoven Museum. The last relics added were the ear

trumpets made for Beethoven by Maelzel. These were

acquired in 1890.
Beethoven (Maria Margaretha von). Sister, b. May 4, 1786 ;

d. Nov. 25, 1787.
Beethoven. The spelling of the composer's name is variously

rendered — Betthoven, Bethoven, Bietthoven, Biethoffen,

Bethof, etc.
Beckenkamp (Kaspar Benedict). Who painted pictures of the

composers parents.

Belderbusch (Countess). Babette Koch, daughter of the pro-
prietress of the Zehrgarten at Bonn.
Benedict (Sir Julius), b. Nov. 27, 1804 ; d. June 5, 1885. Who

knew Beethoven, and has described his appearance in

1823.
Bennett (Joseph), b. 1831. Beethoven critic (Daily Telegraph ;

Musical Times, etc., 1893).

293

Beethoven

Bentheim (Colonel Count). Concerned with Beethoven's legal
matters in 1815.

Berlioz (Hector), b. Dec. u, 1803 ; d. March 8, 1869. French
composer and author of Etudes sur Beethoven.

Bernadotte, b. 1764 ; d. 1844. French General and King of
Sweden. Said to have suggested the title of the " Eroica "
Symphony.

Bernhard (Frau von). At whose house Beethoven visited.

Bernhard (Herr). Dramatic poet.

Bigot, »/<? Kiene (Marie), b. 1786 ; d. 1820. A distinguished
pianiste known to Beethoven in Vienna. Is reputed to
have played the " Appassionata Sonata" at first sight from
the autograph copy.

Birchall (Robert), circa 1740-1819. London music publisher,
who bought Beethoven's compositions. Founder of the
Circulating Musical Library.

Birth. Authorities disagree as to the birth date. The custom
was to baptize on the day following birth ; thus the i6th
has been confounded with the natal day. On Beethoven's
own authority he was born in the year 1772.

Bb'hm. Who assisted at the first performance of the " Ninth "
Symphony.

Bolderini. Acquaintance, whom Beethoven nicknamed "Sir
Falstaff."

Braun (Baroness von). To whom Two Sonatas for Piano,
op. 14, and the Sonata, op. 17, are dedicated.

Braunhofer. Viennese physician who refused to attend
Beethoven.

Braunthal (Braun von). Who knew and has described Beet-
hoven as he appeared in 1 826.

Breuet (Michel). Writer on Beethoven's symphonies. (Historic
de la Symphonie, 1882.)

Brentano (Bettina). One of his female friends.

Brentano (Clemens). Brother of Bettina Brentano.

Brentano (Maximiliana). For whom Beethoven wrote a Trio
in B|j, in one movement, and to whom the Pianoforte
Sonata in E major, op. 109, is dedicated.

Breuning (Christoph von). " Stoffeln " of Beethoven's corre-
spondence.

294

Appendix D

Breuning (Eleanora von). One of the Breuning family living
at Bonn, an esteemed correspondent, and to whom in 1793
Beethoven was greatly attached.

Breuning (Lenz von). A friend, in whose album Beethoven
wrote the following epigram : —

Truth for the wise,
Beauty for a feeling heart,
And both for each other.

Breuning (Stephen von). One of the youthful friends of Beet-
hoven.

Bridgetower (George Augustus Polgreen), b. 1780; d. 1845.
African violinist, nicknamed "the Abyssinian Prince."
Played the " Kreutzer " Sonata with Beethoven.

Broadhouse (John). Translator of Billow's "Notes on Beet-
hoven's Sonatas."

Brothers and Sisters' birthdays. Ludwig Maria, April I, 1769 ;
Caspar Anton Carl, April 7, 1774 ; Nikolaus Johann, Oct.
i, 1776 ; August Franz Georg, Jan. 16, 1781 ; Maria
Margaretha Josepha, May 4, 1786 ; and a girl who died
in four days from birth.

Browne (Count von). Officer in the Russian service, to whom
Three Trios, op. 9, and other works are dedicated.

Browne (Countess von). To whom the Three Pianoforte
Sonatas, op. 10, and other works are dedicated.

Brunswick (Count Francis von). To whom the so-called
' Appassionata ' Sonata, op. 57, ;s dedicated.

Brunswick (Countess The'rese von). " Unsterbliche Geliebte."
Pupil of Beethoven's (1794) and afterwards his fiancee.

Billow (Hans Guido von), b. Jan. 8, 1830 ; d. Feb. 12, 1894. A
great exponent of Beethoven's pianoforte music.

Buonaparte (Napoleon), b. 1769 ; d. May 5, 1821. Consul and
Emperor, to whom the " Eroica" Symphony was originally
dedicated.

Buonaparte (Jerome), b. 1784 ; d. June 24, 1860. Brother of
Napoleon and King of Westphalia, who in 1808 offered
Beethoven the post of Court Chapel-Master at Cassel.

Bursy (Dr Karl von), who knew Beethoven.

Carriere (Professor Moritz). A learned authority in Munich on
Beethoven's " Letters" (1864).

295

Beethoven

Castelli (Dr J. F.), who signed the declaration of the accuracy

of the Schaller bust.

Cibbini (Madam). An acquaintance of the composer's.
Clary (Countess von), to whom op. 63, " Scena ed Aria : Ah,

perfido ! " is dedicated.
Clement (Franz), b. 1784; d. 1842. Austrian violinist and

composer.
Collin (H. J. de). Court secretary and poet, who submitted the

libretto oiBradamanteio Beethoven in 1808 ; and to whom

op. 62, Overture to " Coriolan," is dedicated.
Coutts (Messrs). Bankers in connexion with the negotiations

for and dispatch to England of the MSS. of " Wellington's

Battle Symphony " and " Victory at Vittoria."
Cressener (Mr), d. 1781. English Charge cP Affaires at Bonn,

who assisted Beethoven's family financially^
Czerny (Karl), b. 1791 ; d. 1857. Austrian composer, pianist,

and writer. Pupil of Beethoven.
D'Abrantes (Madam). Writer on Beethoven. (Memoires sur

la Restauration.}
Danhauser (F.), d. 1845. Viennese painter and sculptor, who

took a cast of Beethoven's face immediately after death.
Dannreuther (Edward), b. 1844. Writer on Beethoven.
Davison (James William), b. Oct. 5, 1813 ; d. March 24, 1885.

Voluminous commentator on Beethoven.
Davy (G. W.). Owner of Beethoven's watch.
Death of father, Dec. 18, 1792.
Death of Beethoven's mother, July 17, 1787.
Dessauer (Joseph), b. May 28, 1798 ; d. July 1876. Bohemian

composer and collector of Beethoveniana.
Diabelli. Austrian music publisher, who bought several of

Beethoven's compositions and his Broadwood Grand piano

at the sale of effects in Vienna in 1827.
Dietrichstein (Moritz Graf zu), who attested to the accuracy of

the Schaller bust.
Dietrichstein (Count von), to whom op. 100, " Duet," is

dedicated.
Domanowecz (Baron Zmeskall von). Royal Court secretary

at Vienna. A good violoncello player, and an early friend.
Dorffel (Alfred). Musical historian.

296

Appendix D

Droszdick (Baroness). A wealthy friend, at whose town
and country residences Beethoven was welcomed. The
" The'rese " of Beethoven's correspondence.

Droz (Gustave). Authority on the works of Beethoven.

Elector of Cologne (Prince Frederick Maximilian Archbishop).
Patron of Beethoven, and to whom he dedicated his first
work.

England (Prince Regent of)- Afterwards George IV. — to
whom Beethoven sent a copy of the " Battle Symphony "
and " Wellington's Battle of Vittoria," which were never
acknowledged.

Ense (Varnhagen von). Officer in the Vogelsang Regiment.

Erdbdy (Count Ferdinand von). Amateur and controller of
Theatre An der Wien.

Erdody (Countess). Admirer of Beethoven and his music.

Esterhazy (Prince Nicholas). One of the Austrian royal family
who maintained an opera and orchestra in Vienna.

Eybler (Josef Edeler von), b. 1765 ; d. 1846. Austrian
composer. One of the pall-bearers.

Fichte. Philosopher — whom Beethoven met at Toplitz in 181 1.

Forti (Anton), b. June 8, 1790 ; d. July 16, 1859. Barytone of
the Court Theatre, Vienna.

Frank. Director of the General Hospital, Vienna, who pre-
scribed for Beethoven.

Frederick William II. (King of Prussia), to whom op. 5, "Two
Grand Sonatas," are dedicated.

Freudenberg (Gottlieb), who walked from Breslau in Silesia
to Vienna to see Beethoven, who received him very
cordially. He described Beethoven in 1825 as " in person
rather small, with a wild distracted appearance, and grey
hair."

Fries (Count M. von), who ordered a quintet from Beethoven ;
and to whom op. 23, " Two Sonatas," are dedicated.

Frimmel (Dr Theodore). Authority on portraits of Beethoven.

Galantha (Prince Nicholas Esterhazy de). To whom the Mass
in C, op. 86, and op. 87, " Grand Trio," is dedicated.

Galitzin (Prince N.). To whom opus 124, "Overture Weihe
des Hauses," and other works, are dedicated. He ordered
three Quartets of Beethoven.

297

Beethoven

Gallenberg (Countess, n/e Giulietta Giucciardi).

Gansbacher (Johann Baptist), b. May 8, 1778; d. July 13, 1844.
German composer and conductor ; one of the pall-bearers.

Gelinek (Josef, Abbe), b. 1757; d. 1825. Bohemian composer
and pianist.

Gerardi (Mdlle. de). To whom one of Beethoven's letters is
addressed.

Giannastasio del Rio. Principal of the Vienna school in which
Beethoven placed Carl, and with whom the composei
corresponded respecting his love affairs (1816).

Giucciardi (Giulietta, Countess). To whom the " Moonlight
Sonata, op. 27, is dedicated.

Giuliani (Mauro), b. 1796 ; d. 1820. Italian guitarist.

Glaser (M.). A bidder at the Beethoven effects sale, 1827.

Gleichenstein (Baron von). A promoter of Beethoven's com-
positions. " My Friend," to whom op. 69, " Grand Sonata,"
is dedicated.

GlSggl. Austrian publisher and acquaintance.

Goethe (Johann Wolfgang von), b. 1749; d. March 22, 1832.
German poet, whose "Egmont" and lyrics were set to
music by Beethoven.

Graeme (Elliot). English writer, and author of " Beethoven,
a Memoir," published in 1870.

Graham (G. F.). Author of article on Beethoven in the
Encyclopedia Britannica, 8th ed.

Grillparzer. Head of a Viennese family in which Beethoven
lodged. He wrote Beethoven's funeral oration.

Guhr (Herr), b. Oct. 1787 ; d. July 23, 1848. Who first
conducted the "Ninth" Symphony out of Austria.
Frankfort, April I, 1825.

Gyrowetz (Adalbert), b. 1763 ; d. 1850. Bohemian composer,
one of the pall-bearers.

Habeneck (Francois Antoine), b. Jan. 22, 1781 ; d. Feb. 8,
1849. Conductor of the Paris Acaddmie Royale de
Music who forced the " Eroica " upon the French people,
and conducted the " Ninth " Symphony on its first per-
formance at Paris Conservatoire Concert, March 27, 1831.

Hahnel. Sculptor of the statue of Beethoven at Bonn.

Hake (M.). Who etched a portrait of Beethoven from masks.

298

Appendix D

Hammer-Purgstall (Freiherr von). A renowned Orientalist

who wrote for Beethoven.

Hauschka, to whom op. 219, " Canon," is dedicated.
Haslinger (Tobias). Founder of the musical publishing firm

of Haslinger (now Schlesinger), in Vienna (1787-1842).

The "Adjutant" and "Adjutant-General" of Beethoven's

correspondence.
Haslinger (Herr Carl). Viennese collector of Beethoven's

scores.
Hatzfeld (Prince von). Prussian Ambassador at Vienna to

whom Beethoven wrote as to the "Ninth" Symphony.
Hatzfeld (Countess of), to whom "Variations" were dedicated.
Haydn, b. March 31, 1732 ; d. May 31, 1809.
Heinth (Dr Franz von). Who vouched for the truth of the

Schaller bust.
Heller. The singer at the Electoral Chapel whom Beethoven

disconcerted.
Henschel (George), b. Feb. 18, 1850. German barytone

vocalist, composer, and conductor. Possessor of the

Kiigelgen miniature of Beethoven.
Herzog. Beethoven's man-servant
Killer (Ferdinand), b. Oct. 24, 1811 ; d. May 10, 1885. German

composer, conductor, and writer on Beethoven.
Hoffmeister (Franz Anton), b. 1754; d. 1812. German com-
poser and publisher of cheap editions of the masters.

Kapellmeister at Leipzig, 1800.
Hofel, who engraved Letronne's portrait of Beethoven.
Hogarth (George), b. 1783 ; d. Feb. 12, 1870. Author—

" History of the Philharmonic Society," containing in-
teresting facts relating to Beethoven.
Holz (Carl). Intimate friend.
Hummel (Johann Nepomuk), b. 1778 ; d. 1837. Hungarian

composer and pianist.
Htittenbrenner (Anselm), b. Oct. 13, 1794 ; d. June 5, 1868.

Hungarian composer at Beethoven's deathbed-side.
Jahn (Otto), b. 1813 ; d. 1869. German composer and writer.

Author of article on Beethoven's works in " Grenzboten."
Jeitteles (A.). Poet, some of whose songs, the Leiderkreis for

instance, Beethoven set to music.

299

Beethoven

Kanka (Dr Johann). Doctor of Laws in Prague, Beethoven's
advocate and friend. Legal agent for the Kinsky estates.

Karajan (Dr H. G. V.). Vice-President of the Imperial
Academy of Science, Vienna, and owner of a Mahler,
portrait of Beethoven.

Kattendyke (Baron J. M. Huyssen van). Beethoven collector.

Keglevics (Countess Babette von, Princess Odeschalchi).
Beethoven dedicated the Sonata in E flat, op. 7, to her.

Kessler (Herr). Viennese collector of Beethoven relics.

Kinsky (Princess), to whom op. 94, "An die Hoffnung," is
dedicated.

Kinsky (Prince Ferdinand Johann Nepomuk Joseph), b. Dec.
4, 1781 ; d. Nov. 3, 1812. Noble amateur musician, patron
and great admirer of Beethoven's music. Gave 1800 florins
to the Annuity.

Klein (Franz), who made casts of Beethoven's face.

Kloeber (Augustus von), who made the chalk drawing of
Beethoven in his 48th year.

Koschak (Mdlle. Marie). Married Dr Pachler, a lawyer at
Gratz. Believed by Schindler to be the lady to whom
Beethoven wrote the letter with the words, " Oh God !
grant that I may at last find her who can strengthen me
in virtue, whom I can legitimately call my own."

Kotzebue. Author of the " Ruins of Athens."

Kraft (Anton). An excellent violoncellist with whom Beet-
hoven played at Prince Lichnowsky's.

Kren (Michael). His servant while on the visit to his brother
Johann, the dispensing chemist

Kreutzer (Conradin), b. Nov. 22, 1782 ; d. Dec. 14, 1849.
German composer and conductor. One of the pall-
bearers.

Kreutzer (Rudolph), b. 1766; d. 1831. German violinist and
composer. The person to whom Beethoven dedicated
the " Kreutzer" Sonata, op. 47.

Kreutzer Sonata Dedication : " Sonata per il Pianoforte ed un
Violin obligate, scritta in uno stilo molto concertante,
quasi come d'un Concerto. Composta e dedicata al sur
amico R. Kreutzer, Membro del Conservatoire di Musica
in Parigi, Primo Violino dell' Academia delle Arti, e della

300

Appendix D

Camera Imperiale, per L. van Beethoven. Opera 47. A

Bonn chez K. Simrock, 422."
Krumpholz (Johann Baptist), b. 1745; d. 1790. Bohemian

harpist and composer. Performed also on the mandoline,

for which instrument Beethoven wrote a composition.
Kiigelgen (Gerhard von), who painted a miniature of Beet-
hoven in his 2 ist year.
Kuhac (Professor). Writer on Beethoven (Allg. Musikzeitung,

July 20; Aug. 3, 17, 1894).
Kuhlau (Friedrich Daniel Rudolph), b. 1786; d. 1832. German

pianist and composer.
Kiihnel (K.). Partner in the firm of Hofmeister and Kiihnel ;

Leipsic, 1800 : now Peters.
Lablache (Luigi), b. Dec. 6, 1794; d. Jan. 23, 1858. Italian

bass vocalist, who was singing in Vienna at the time of

Beethoven's death.
Lampi (J. B. Ritter von). Painter of the picture of Therese,

Countess of Brunswick, to whom Beethoven addressed

love letters.

Leidesdorf. Music publisher at Vienna.
Lenz (Wilhelm von), b. 1809; d. Jan. 1883. Russian writer

on Beethoven and his compositions.
Lesueur (Jean Francois), b. Feb. 15, 1760; d. Oct. 6, 1837.

French musician who gave judgment on the "C Minor"

Symphony.

Letronne (Louis). Painter of Beethoven's favourite portrait.
Lichnowsky (Count Moritz). Brother of Beethoven's patron,

Prince Carl Lichnowsky.
Lichnowsky (Princess Christiane). Wife of Prince Carl

Lichnowsky.
Lichnowsky (Prince Carl von). Patron to whom the Sonata

Pathtiique, op. 13, and several other works are inscribed.
Lichtenstein (Princess). To whom is dedicated the Sonata,

op. 27, No. i.
Linke. Violoncello player in the Rasoumowsky Quartet

party.
Linley (G.), b. 1795 ; d. Sept. 10, 1865. English composer

who prepared the "Ninth" Symphony for performance

in London. Exeter Hall, 1852-3.

301

Beethoven

Lipawsky (Josef), b. 1772 ; d. 1810. Bohemian composer.
Liszt (Franz), b. Oct. 22, 1811 ; d. July 31, 1886. Hungarian

composer, pianist, author, and Abbe", who, mainly at his

own cost, erected the monument to Beethoven at

Bonn.
Lobkowitz (Prince Franz Joseph Maximilian), b. Dec. 7,

1772; d. Dec. 25, 1816. A generous patron of Beet-
hoven, talented amateur, and supporter of the Lobkowitz

concerts. He contributed 700 florins to the Annuity for

Beethoven.
Lorchen. A friend.
Louis Ferdinand of Prussia (Prince). Talented pianist and

composer who listened to three performances of the

"Eroica" Symphony in one evening.
L8we (Ludwig). Actor whom Beethoven met at Toplitz in

1811.
Lyser, who made the capital full-length sketch in line of the

master, published in Germany by Schlesinger.
Maelzel (Johann Nepomuk), b. 1772 ; d. 1838. German

musician and inventor of the Metronome. Co-concert

giver with Beethoven.

Malchus. Westphalian Minister of Finance.
Malfatti. Celebrated physician in Vienna, and medical man

to Beethoven.
Malibran (Maria Felicita), b. Mar. 24, 1808 ; d. Sept. 23, 1836.

The famous Spanish cantatrice — who went in convulsions

and was carried from the room, on first hearing the C

minor Symphony.
Marconi (Madame). Prima donna in the revival of Fidelia —

1806.
Marschner (Heinrich), b. 1795 ; d. 1861. German composer

and conductor.
Marx (Adolphe Bernhard), b. 1799 ; d. 1866. German writer

and composer.

Mathilde (" M," Baroness Gleichenstein).
Matthison. An esteemed friend poet. Author of the " Adelaide"

poem, and to whom op. 46 is dedicated.
Maximilian Friedrich (Archbishop and Elector of Cologne).

Patron to whom Beethoven dedicated his three first

30*

Appendix D

pianoforte sonatas — the E flat major, F minor, and D

major.
Maximilian Joseph (King of Bavaria). To whom op. 80,

" Fantasia," is dedicated.
Mayenberg (Freiherr von), who attested to the accuracy of the

Schaller bust.
Mayer (Carl). A Nuremberg engraver of a portrait of

Beethoven in the possession of Count Wimpffen.
Mayseder (Joseph), b. Oct. 26, 1789 ; d. Nov. 21, 1863.

Austrian violinist and composer, who attested to the

likeness of the Schaller bust.
Meinert (Carl). Owner of the "Wolanek" letter, dated

Dec. 15, 1802.
Mendelssohn-Bartholdy (Ludwig Felix), b. Feb. 3, 1809; d.

Nov. 4, 1847. Conductor of the first performance of

the "Ninth" Symphony at the Gewandhaus Concerts,

February u, 1836.
Meyer (Herr). Husband of Mozart's eldest sister-in-law —

Josepha. He sang the part of Pizarro at the first

performance of Fidelia.

Milder (Mdlle.), who played Leonore in Fidelia, 1806.
Mahler (W. F.), who painted Beethoven as he appeared in his

38th year.

Mollo. A Viennese publisher of Beethoven's music.
Moscheles (Ignaz), b. 1794 ; d. 1870. Bohemian composer

and pianist. Settled in London 1826-46. Director of

the Philharmonic Society, 1832, and its conductor, 1845.

Intimate friend of Mendelssohn. Translated " The life

of Beethoven, including his Correspondence with his

friends" [Schindler].
Mosel (Hofrath von), with whom Beethoven corresponded

as to the value of Maelzel's invention — the metronome,

1817.

Mother's maiden name, Keverich, daughter of a cook.
Motte-Fouqu^ (Baron de la). Director of the Berlin Opera.
Mozart (Wolfgang Amadeus), b. Jan. 27, 1756 ; d. Dec. 5, 1791.

First met Beethoven in Vienna, 1787.
Miiller (Dr W. C), who knew Beethoven in 1820.
Nageli (Johann Georg). Music publisher.

Beethoven

Neate (Charles), b. 1784 ; d. 1877. English composer and

pianist. Introducer of Beethoven's music into England.
Neefe (Christian Gottlob), b. 1748 ; d. 1798. German organist

and composer.
Niecks (Friedrich), b. Feb. 3, 1845. Writer on Beethoven's

works.
Niklsberg (Charles Nikl Noble de), to whom op. 19,

" Concerto," is dedicated
Nohl (Carl Friedrich Ludwig), b. 1831 ; d. 1885. German

writer. Author of " Neue Briefe Beethoven's nebst

einigen ungedruckten Gelegenheite compositionem."

Stuttgart : 8vo, 1867. Beethoven depicted by his

Contemporaries;" translated by E. Hill, London, 8vo,

1880. German edition, 1877.
Nottebohm (Martin Gustav), b. Nov. 12, 1817 ; d. Oct. 31,

1882. German writer on Beethoven and his works.
Obermeyer (Therese). Lady friend of Johann Beethoven,

whom he afterwards married.

Odeschalchi (Princess). One of Beethoven's admirers.
Oliva (Herr von). Connected with Beethoven's legal matters,

1815.
Oppersdorf (Count Franz von), musical amateur, to whom the

" Fourth " Symphony is dedicated.
Oulibicheff (Count Alexander von), b. 1795; d- 1858. Noble

Russian amateur who fell foul of Beethoven and his works.
Oxenford (John), b. Aug. 12, 1812 ; d. Feb. 21, 1877. English

dramatist who translated the "Ninth" Symphony for

performance in London. Royal Academy of Music,

1835-6.
Pacini (Giovanni), b. Feb. 19, 1796; d. Dec. 6, 1867. Italian

composer and great admirer of Beethoven's works.
Paraquin. Copyist and counter - bass in the Electoral

Orchestra.

Pasqualati (Baron). Who kept rooms for Beethoven's use.
Peters (Carl Friedrich). German music publisher. Founded

the well-known firm at Leipzig about 1814.
Pfeifler. Tenor singer in Bonn Opera, and bandmaster in a

Bavarian regiment.
Pohl (Carl Ferdinand), b. Sept. 6, 1819; d. April 28th, 1887.

3°4

Appendix D

Writer on Beethoven, (Die Gesellschaft der Musikfreunde,

Vienna, 1871).
Pole (William, Mus. Doc.), b. 1814. Beethoven critic and

enthusiast.
Polledro (Giovanni Baptiste), b. 1776; d. August 15, 1853.

Violinist and chapel master.
Potter (Philip Cipriani Hambly), b. 1792 ; d. 1871. English

pianist and composer. Met Beethoven when studying

under Fdrster in Vienna.
Preindl (Joseph), b. 1758 ; d. Oct. 23, 1823. German critic

and composer.
Preisinger. Basso profondo who was to have sung the bass

solos in the " Ninth " Symphony.
Prior (George). Maker of Beethoven's watch.
Probst Music publisher at Leipzig, who issued some of

Beethoven's compositions.
Pronay. One of Beethoven's landlords.
Prussia (King of), to whom op. 113, "The Ruins of Athens,"

is dedicated.
Punto. Horn player.
Radzivil (Prince), to whom op. 108, "Twenty-five Scotch

Songs," is dedicated.
Rahel. Wife of Varnhagen von Ense, whom Beethoven met

at Toplitzin 1811.
Rahles (Dr Ferdinand), b. 1812 ; d. Mar. 19, 1878. German

composer. Writer in the Musical World, May 26, 1860.
Rasoumowsky (Prince Andreas Kyrillovitsch), b. 1752; d. 1836.

Russian noble, amateur and violinist. To him Beethoven

dedicated op. 59, three Quartets in F, E minor, and

C ; also jointly with Prince Lobkowitz op. 67-68 the

Symphonies 5 and 6.
Recke (Countess von der). A Berlin lady whom Beethoven

met at Toplitz in 1811.
Reimann (Dr Heinrich). Writer on Beethoven (Allg, Musik-

zeitung, Oct. 6, 13, 20, 1893).
Reissig, who wrote the words of the song, "To the Absent

Lover," set by Beethoven.
Rellstab, who knew, and has described, the appearance of

Beethoven in 1825.

u 305

Beethoven

Riedel (John Anthony), b. 1732 ; d. 1772. German engraver
of Letronne's portrait of Beethoven.

Riehl (W. H.). Author of the pamphlet, " The Two Beet-
hovens," in which the classic and romantic aspects of
Beethoven's Works are treated.

Ries (Ferdinand), b. 1784; d. 1838. German pianist, composer,
and conductor. Studied under Beethoven, and wrote the
" Biographische Notizen uber Ludwig van Beethoven," an
8vo work published at Coblentz in 1838, and which was
translated into French by M. A. F. Legentil, Paris, 1862.

Rochlitz (Friedrich Johann), b. Feb. 12, 1769; d. Dec. 16, 1842.
Who met Beethoven at Baden in 1822, and wrote of him
in Fiir Freunde der Tonkunst.

Rochlitz. Writer on Beethoven {Fiir Freunde der Tonkunst}.

Rbckel (Herr). Tenor singer at the Theatre " An der Wien,"
who sang Florestan's part in Fidelia in 1806.

Rockstro (William Smyth), b. 1830 ; d. July 2, 1895. English
musician and writer on Beethoven's music in the
"Dictionary of Music and Musicians."

Rode (Pierre Joseph), b. Feb. 16, 1774 ; d. Nov. 26, 1830.
Violinist who played with Beethoven in Vienna, who
with Beethoven's pupil, the Archduke Rudolf, first played
the Sonata for Piano and Violin in G, op. 96, on January

4, 1813-

Rollet (Dr Hermann), b. Aug. 20, 1819 ; d. circa 1870. Stadt-
archivar of Baden, who as a boy saw Beethoven in the
street with his hat slung behind his back.

Rudolph (Johann Joseph Rainer), b. Jan. 8, 1788 ; d. July 24,
1831. Archduke of Austria, who, as a youth of sixteen,
studied under Beethoven. Subscribed 1500 florins to
Beethoven's Annuity.

Russell (J.) Author of "Travels in Germany," who knew
Beethoven in 1820.

Russia (Empress of), to whom opus 89, " Polonaise," is
dedicated.

Saal. A singer in the revival of Fidelia.

Sabatier-Unger (Caroline), b. Oct. 28, 1805 ; d. March 23,
1877. Hungarian contralto vocalist who sang at Beet-
hoven's concerts.

306

Appendix D

Saint-Sa&is (Charles Camilla), b. Oct. 9, 1835. French

composer and writer on Beethoven {Hamionie et

Mtlodie).
Salieri (Antonio), b. Aug. 19, 1750; d. May 12, 1825. Italian

composer. Played the drums and cannonades at the

Bavarian Soldiers' Benefit Concert.
Salomon (John Peter), b. Feb. 1745; d. May 28, 1815. German

conductor and composer. Impresario in London who

negotiated for Beethoven's scores.
Savigny (Frau von), n£e Brentano, sister of Clemens and

Bettina.
Schaden (Dr). Assisted Beethoven financially, and was the

recipient of the touching letter announcing the death of

the musician's mother.

Schaller (F.) Viennese sculptor, who made a bust of Beet-
hoven as he was in 1826. The original is in the possession

of the Philharmonic Society of London.
Schenck (Johann), b. 1753 ; d. 1836. Austrian composer who

instructed Beethoven in harmony.
Schicht (Johann Gottfried), b. Sept. 29, 1753 ; d. Feb. 16,

1823. Conductor at the Gewandhaus Concerts.
Schiller (Johann Christoph Friedrich von), b. Nov. n, 1759 ;

d. May 9, 1805. German poet. Author of the Ode

An Die Frende (1785) set in the "Ninth" Symphony.
Schimon, who painted Beethoven's portrait in 1819.
Schindler (Anton), b. 1796; d. Jan. 16, 1864. Austrian writer.

Author of " Biographic von Ludwig van Beethoven," and

" Beethoven in Paris."

Schlemmer. For many years copyist for Beethoven.
Schlesinger (Moritz Adolph), b. Oct 30, 1798 ; d. 1865.

German publisher of Beethoven's scores.
Schlbsser (Ludwig), b. 1800; d. circa 1860. German com-
poser and conductor, who wrote a bold German pamphlet

on Beethoven.
Schmidt (Professor J. A.), to whom op. 38, "Trio," is

dedicated. The physician who attended Beethoven for

his deafness.
Schopenhauer (Arthur), b. 1788 ; d. 1860. German pessimistic

philosopher. Author of "The World as Will and Idea."

3°7

Beethoven

Schott & Co. German musical publishers who issued some
of Beethoven's compositions.

Schubert (Franz Peter), b. Jan. 31, 1797; d. Nov. 19, 1828.
Who dedicated the "Variations on a French air," op. 10,
to Beethoven. Schubert was twenty years the junior of
Beethoven.

Schuppanzigh (Ignaz), b. 1776 ; d. 1830. Austrian violinist
and composer. Established the Rasoumowsky Quartet,
and for some time instructed Beethoven. " My Lord
Falstaff " of the composer's " Letters."

Schwarzenberg (Prince), to whom op. 16, " Grand Quintet," is
dedicated.

Schweiger (Joseph Freiherr von). Chamberlain of the Arch-
duke Rudolph.

Schweitzer (Baron). Chamberlain of the Archduke Anton,
and friend of Beethoven.

Sclowonowitsch. Postmaster in Cassel.

Sebald (Mdme. Auguste). Singer, and friend of Beethoven.

Sebald. A musical family from Berlin which Beethoven met
at Toplitz in 1811. He fell in love with Amalie.

Seroff (Alexander Nikolavitch), b. May n, 1818 ; d. Feb. i,
1871. Russian composer and critic of Beethoven's music.

Seyfried (Ignaz Xaver, Ritter von), b. 1776; d. 1841. Austrian
composer and director.

Shedlock (J. S.). Writer on Beethoven in " The Pianoforte
Sonata."

Siboni (Giuseppe), b. Jan. 27, 1780 ; d. Mar. 29, 1839. Italian
tenor vocalist at the Vienna Opera.

Simrock (Nicolas), b. 1755 ; d. circa 1820. Founder of the
German music publishing house.

Sina. Second violinist in the Rasoumowsky Quartet party.

Smart (Sir George Thomas), b. May 10, 1776; d. Feb. 23,
1867. English conductor and teacher — known to Beet-
hoven, and associated with the production of his music
in London.

Smetana. Viennese surgeon who performed a successful
operation on Beethoven's nephew Carl (1816).

Sonnenfels (Joseph Edlen von), to whom op. 28, " Grand
Sonata," is dedicated.

308

Appendix D

Sonnleithner (Dr Leopold von), who signed the declaration as

to the likeness of the Schaller bust.
Spieker (Dr). Concerned in the dedication of the " Ninth "

Symphony.

Spiller, who has described Beethoven as he was in 1826.
Spohr (Louis), b. April 25, 1784; d. Oct. 16, 1859. German

composer and violinist.
Stadler (Abbe" Maximilian), b. Aug. 4, 1748 ; d. Nov. 8, 1833.

Austrian organist, composer and critic.
Stanford (Charles Villiers, Mus. Doc.), b. Sept. 30, 1852.

Irish composer and conductor. Beethoven critic.
Staudenheim. Celebrated physician in Vienna who refused

at the last to attend Beethoven.
Steibelt (Daniel), b. 1755 ; d. 1823. German pianist and

composer.
Steindachner (Dr). Official at the Natural History Museum,

Vienna, who has spoken on the subject of the birds in the

" Pastoral " Symphony.
Steiner (S. A.). Music publisher at Vienna. The " Lieuten-

ant-General " of Beethoven's correspondence.
Stieler. The painter of the 1822 portrait of Beethoven with

the tree background.
Stoll. An unfortunate poet, and son of a celebrated physician,

assisted by Beethoven.
Streicher (Frau von, »/<? Stein). A Viennese lady who helped

the composer with his domestic troubles, servants, etc., 1 8 1 6.
StumpfF (J. A.). A London harp-maker and admirer who pre-
sented Beethoven with Handel's works in forty volumes.
Sussmayer (Franz Xaver), b. 1766 ; d. 1803. Austrian com-
poser and conductor ; friend and companion of Mozart ;

conductor of the Karnthnerthor Court Theatre, Vienna, in

1795-
Swieten (Baron van). Son of the medical adviser of the

Empress Maria Theresa.
Thayer (Alexander Wheelock), b. 1817. American writer.

Author of Beethoven's " Life." Berlin, 1866-79.
Thomson (George), b. March 4, 1759; d. Feb. u, 1851.

Scottish collector and editor, for whom Beethoven wrote

song settings and accompaniments.

309

Beethoven

Thun (Countess von), to whom op. n, "Grand Trio," is
dedicated.

Tiedge. Poet whom Beethoven met at Toplitz in 1811, whose
" To Hope " Beethoven set to music.

Tomaschek (Wenzel Johann), b. April 17, 1774 ; d. April 3,
1850. Bohemian composer and pianist ; acquaintance
of Beethoven.

Towers (John), b. 1836. English conductor and writer.
Author of a chronological list of Beethoven's works in
the "Musical Directory," 1871.

Treitschke. Dramatic author who wrote Fidelio.

Troyer (Count Ferdinand). One of the Archduke Rudolph's
chamberlains.

Tschischka (Herr), with whom Beethoven corresponded con-
cerning the welfare of his nephew.

Turk (Daniel Gottlieb), b. Aug. 10, 1756; d. Aug. 26, 1813.
German composer and writer. Halle Musical Society
Director — who practised various omissions when con-
ducting the Beethoven Symphonies.

Umlauf (Michael), b. 1781 ; d. 1842. Austrian composer and
co-conductor with Beethoven. Present at the first per-
formance of the " Ninth " Symphony on May 7, 1824, at
theKarnthnerthor Theatre, Vienna.

Unger (Caroline), b. October 28, 1805 ; d. March 23, 1877.
A great singer who came into contact with Beethoven in
studying the soprano and contralto parts of his Mass in
D and Choral Symphony.

Unger (William), who etched the picture of Therese, Countess
of Brunswick, Beethoven's " Immortal Beloved."

Varnhagen (von Ense). See " Rahel " and " Ense."

Van in Beethoven's name shows his Dutch origin.

Varena. Whom Beethoven met at Toplitz in 1811.

Vering. An army surgeon who attended Beethoven.

Vielhorsky (Count). A Russian friend.

Vogl (John Michael), b. August 10, 1768 ; d. November 19,
1840. Court tenor who sang at the revival of Fidelio.

Wagner (Richard), b. May 22, 1813; d. February 13, 1883.
German composer and writer on Beethoven.

Waldstein (Count). Young noble amateur musician. Eight

310

Appendix D

years Beethoven's senior, and to whom the sonata op. 53

is dedicated.
Wallace (Lady Maxwell), b. circa 1810; d. 1878. Translated

Beethoven's "Letters," 1790-1826. London, 1866. 2 vols.
Wawruch. Viennese physician who attended Beethoven in

his last illness.
Weber (Carl Maria von), b. December 18, 1786 ; d. June 5,

1826. Composer of Der Freischutz, etc., who visited

Beethoven in 1823. A bitter critic of Beethoven's

Symphonies.
Weber (Friedrich Dionys), b. 1771 ; d. Dec. 26, 1842.

Bohemian teacher and critic.
Wegeler (Dr) of Vienna. Friend to whom Beethoven wrote

frequently.
Weigl (Joseph), b. March 28, 1776 ; d. February 3, 1846.

Hungarian composer and chapel-master. One of the

pall-bearers.
Weinmuller, who sang the part of Rocco in the revival of

Fidelia.
Weiss (Franz), b. January 18, 1778; d. January 25, 1830.

Violist in the Rasoumowsky Quartet party.
Weissenbach (Dr Alois), who wrote the poetry of "Der

glorreiche Augenblick" set by Beethoven.
Wild (Franz), b. December 31, 1791 ; d. 1860. German tenor

singer. Sang in 1815 Adelaide, the composer accom-
panying.
Wilder (M.). Author of "Beethoven: Sa Vie et ses

CEuvres."
Wimpffen (Count). Owner of the Beethoven portrait engraved

by Mayer.
Woelfl (Joseph), b. 1772 ; d. 1814. Austrian composer and

pianist
Wolanek (Ferdinand). A copyist whom Beethoven rated

very severely, endorsing one of his letters with the

phrase, "Stupid, conceited, asinine fellow."
Wolf (Dr). Connected with Beethoven's legal matters,

1815.
Wolfmayer (Johann). " His friend," to whom op. 135

"Quartet" is dedicated.

Beethoven

Wranitzky. Musical conductor at Beethoven's first concert

Wflrfel. German chapel-master ; one of the pall-bearers.

Wurth (Herr von). A Viennese banker at whose house the
" Eroica " Symphony was rehearsed.

Zelter (Carl Friedrich), b. December n, 1758; d May 15,
1832. German composer and writer ; friend of Goethe,
and depreciator of Beethoven.

Zraeskall von Domanowecz (Baron). Royal Court Secretary
and violoncello player. An early Viennese friend with
whom Beethoven corresponded. Advised the composer
in his domestic affairs.

Zulehner (Carl). A Mayence engraver who pirated Beet-
hoven's works.

Zumbusch. Sculptor of the statue of Beethoven at Vienna.

Index

ABSTRACTION, stories of his, 102
Adelaida, song, 128; story con-
cerning, id.

Albrechtsberger, becomes a pupil
of, 7 ; leaves him, 8 ; his
opinion of Beethoven, 8, 9
Amanda, Pastor, 15, 116
Amusements of Beethoven, 102
Anschiitz, 46

Appearance, last in public, 203
Appearance, personal, 50, 51
Appendices : —

A. Bibliographical, 257-262 ;
Case of Beethoven, 262-265

B. List of Works, 266-286

C. Principal Incidents in Life
of Beethoven, 287-291

D. Personalia and Memoranda,
292-312

Appointments : —

Deputy Organist of Elector of

Cologne's Chapel, 3
Deputy Conductor of the Opera

Band, 4

Second Court Organist, 4
Offered post of Court Chapel-
Master at Cassel, 18
Arnim, Bettina von, 74, 100, 101,

III, 112
Artaria, 91

BACH, Dr, 41

Beethoven and his three styles,

Lenz, 249-250
Beethoven, Case of, Appendix A,

262-265
Beethoven's "Will" (so-called),

Belderbusch, Countess, 71
Bibliography, Appendix A, 257-

262

Birth and Parentage, I
Bonn statue, 1 10
Breitkopf & Hartel, 19, 179
Brentano, Bettina, 21, 73
Brentano, Fraulein Maximiliana,

194

Breuning, Eleonora von, 72, 75
Breuning family, 4, 6, 9, 44, 72,

75. "4

Breuning, Stephen von, 114; re-
conciliation with, 194
Bridgetower, 153, 154
Broadwood, Thomas, 27
Browne, Countess von, 75
Brunswick, Countess Thlrese von,

73, 75

Buonaparte, Jerome, 18
Busts, statues, 6rY., of Beet-
hoven : —

Bonn statue, 1 10

Danhauser, 108

Holz, Carl, 109

Klein, Franz, 108

Beethoven

Busts, &*c. — continued,—
New York statue, 1 10
Schaller, 109
Vienna statue, 1 10

CARL, his brother, death of, 23

Carl, his nephew, 23 ; adopted
by Beethoven, 24 ; expulsion
from the University and at-
tempted suicide, 25 ; his thank -
lessness and his uncle's grief, 26;
matters reach a climax, 36, 37 ;
committed to the care of Dr
Bach, 41 ; letter to, 81, 82

Case of Beethoven, Appendix A,
262-265

Cherubini, 85

Clary, Countess von, 75

Composing, his manner of, 136,

137, 13.8

Composition, his last, 203
Concert for benefit of the wounded

at Hanau, 22
Conductor, as a, 139, 140
Country resorts, his favourite,

20, 64

Cressener family, 4
Criticisms : —

Berlioz, on 4th symphony, 166
,, on 5th symphony, 170,
171

Fe"tis, 129

Grove, Sir George, on ist sym-
phony, 145 ; on 8th sym-
phony, 190 ; on Beethoven's
playing, 135
Kockel, on Beethoven as a

teacher, 135
Lenz, "Beethoven et ses trois

styles," 249, 250
Manns, August, on Wagner,
225

Criticisms — continued —

Manns, on Beethoven's instru-
mentation, 224

Mendelssohn, on Beethoven's
style, 156

" Musical World," on Bee-
thoven's temperament and
disposition, 79

Naumann, on the Pianoforte
Sonatas, 241

Pianoforte Trios, the 3 (op. i),
8

Rellstab, on the "Moonlight"
Sonata, 149

Riehl's " Two Beethovens,"

237
Ries, on Beethoven as a pianist,

133

Rockstro, on "The Mount of
Olives," 147

Schindler, on the "Choral"
symphony, 198

Smart, Sir George, on Bee-
thoven's later works, 228

Tomaschek, on Beethoven's
playing, 133

Wagner, on the "Choral " sym-
phony," 199, 223

Wagner, on the gth symphony,
225, 226

Wagner, describes Beethoven
as a " Composer of Sonatas,"

234

Wagner on Beethoven's instru-
mentation, 223

Wagner, on Liszt's render-
ing of Beethoven's Sonatas,

243

Wagner, his acquaintance
with Beethoven's Works,
224
Czerny, becomes his pupil, 1 1

Index

Deafness, first symptoms of, 13 ;

Eitiful references to, 13, 14, *5;
e forsakes playing and con-
ducting, 15 ; reference to in his
"will," 149
Death, his, 44, 45
Dorn, Heinrich, 224
Dropsy sets in, 41

EARLY compositions, 123-128
Early training, 2
Eeden, van den, pupil of, 3
Elector, Max Franz, 4

,, death of, 12
Embarrassments, pecuniary, 21,

26, 31
Erdody, Countess Marie, 72, 75,

193

Ertmann, Baroness, 72, 75, 193
Esterhazy, Prince Nicholas 206
Eybler, 46

FETIS, 129
Fidelio, 160, 161
Fondness for joking, 57
Forebodings, gloomy, 31, 32,

Forster, Aloys, pupil of, 9
Freudenberg, 229
Fries, Count von, 183
Funeral, his, 45, 46, 47

GALITZIN, Prince, 194, 201, 202

Gansbacher, 46

Gelinek, 8

Giannastasio, Fraulein, 136

Giucciardi, Countess Giulietta,

72, 75, 148
Goethe, 101
Grave, Beethoven's, 47
Grillparzer, family, 64
Gyrowetz, 46

HANDEL, 85

Haydn, his pay for lessons, 131

Haydn, pupil of, 7

Health, failing, 33, 34, 40, 41

Hiller, meeting with, 42, 43

Hoffmeister, 91

Holz, Carl, 33, 109

Hummel, 22, 44, 46

Hiittenbrenner, 44

INCIDENTS in his life, Appendix

C, 287-291
Instrumentation, Beethoven and,

213, 224

JOKES, some of Beethoven's,
57-61

KEGLEVICS, Countess von, 75, 129
Kinsky, Prince, 9, 18, 206; death

of, 23

Kinsky, Princess von, 75, 115
Kockel, 135
Kreutzer, 46
Krumpholz, 156
Kuhlau, 58 ; joke on, id.

LAST appearance in public, 203
Last composition, his, 203
Letters : —

Amanda, Pastor, 15, 116, 165
Arnim, Bettina von, 74, 100,

101, III, 112

Beethoven to Cherubini, 211,

212

Brentano, Bettina, 73, 74
Breuning, Eleonora von, 72

Stephen von, 114

Broadwood, Thomas, 27
Carl, his brother, 24

his nephew, 81, 82

Droszdick, Baroness, 20

315

Beethoven

Letters — continued —

Generally, 96, 97

Giucciardi, Countess, 72

Kinsky, Princess, 115

Lichtenstein, Princess, 115

Ries, 70, 75

Rio, Giannastasio del, 74

Schaden, Dr von, 5

Schott, 34, 35

Streicher, Frau von, 67

Stumpff, J. A., 107, 10

Varenna, III

Wegeler, 17, 35, 73, 165

Zmeskall, 65, 66, 67, 77, 78
Lichnowsky, Count Moritz von,

193
Lichnowsky, Prince, 8, 9, 30,

129, 151
Lichnowsky, Princess, 9, 10, 60,

Lichtenstein, Princess, 75, 115
Life, principal incidents in his,

Appendix C, 287, 291
Life, his purity of, 113
List of works, Appendix B, 266,

286
Litigation, with his brother Carl's

wife, 25 ; concerning Prince

Lobkowitz's allowance to him,

26
Lobkowitz, Prince, 9, 18, 130,

131, 155, 169, 174 ; death of, 26
Lodger, Beethoven as a, 61, 64
Love affairs, 20, 21, 70-77
Lowe, Ludwig, 76, 77

MAELZEL, 22
Malfatti, Dr, 41
Manns, August, 225
Mass in D (op. 123) 209, 212.
Maxims, concerning art and
music, 95

Mayseder, 22

Memoranda and Personalia-
Appendix D, 292-312

Mendelssohn, 156

Messe Solennelle, 209-213.

Meyer, 160

"Moonlight" Sonata, 148, 149

Moscheles, 22, 41, 83, 113, 201,
202, 203

Mozart, 5, 86

Musician, Beethoven the, 118

NAGELI, 153

Neate, 137

Neefe, pupil of, 3

Nick-names applied by him to his
friends, 60

Nikolaus Johann, his brother, 35 ;
"land proprietor," 36 ; Beet-
hoven visits him respecting his
nephew Carl, 36, 37 ; quarre
with Johann, 38

Nottebohn, 201, 242, 244

ODESCHALCHI, Princess, 72
Oppersdorf, Count von, 163
Orchestra, Beethoven and the,

213, 224.
Orchestration —
Mass in C (op. 86), 206
Mass in D (op. 123) 209-211
Symphony, No. I (op. 21), 141,

142

Symphony, No. 2 (op. 36), 149
Symphony, No. 3 ("Eroica")

(op. 55). I54-IS7
Symphony, No. 4 (op. 60), 162-

166
Symphony, No. 5 (op. 67), 167-

169
Symphony, No. 6 (" Pastoral ")

(op. 68), 172-179

316

Index

Orchestration — continued —
Symphony, No. 7 (op. 92) 180-

183
Symphony, No. 8 (op. 93) 186-

187
Symphony, No. 9 (" Choral ")

(op. 125), 194-197
Symphony(so called) ("Battle")

190

PARENTS, his, i

Pecuniary embarrassments, 21,
26, 31

Personalia and Memoranda, Ap-
pendix D, 292-313

Personality, Beethoven's, 49

Pfeiffer, pupil of, 3

Philharmonic Society, 27, 28, 32,
41, no, 202, 203

Pianist, Beethoven as, 133, 134

Pianoforte, Beethoven at the, 132

Pianoforte sonatas, 241

Politics, his, 98-101

Portraits of Beethoven —

Hake, 108 ; Hofel, 104 ; Horne-
mann, 104 ; Kloeber, 105 ;
Krausse, 106 ; Kiigelgen,

103 ; Letronne, 104 ; Mahler,

104 ; Riedel, 104 ; Schimon,

106 ; Stieler, 106 ; Stumpff,

107 ; Waldmiiller, 106
Potter, Cipriani, 79

Principal incidents in his life, Ap-
pendix C, 287-291
Public appearance, first, IO
Purity of life, 113

RADZIWIL, Prince, 193
Rasoumowsky, Count von, 169,

174

Reicha, 4
Reichardt, 18

Religious views, his, III, 112
Ries, 4, 75, 82, 83, 115, 132, 133,

.135. J58, 159
Rio, Giannastasio del, 74
Rockstro, 147
Roeckel, Fraulein, 74, 160
Romberg, 4, 22
Rossini, 29
Rudolph, Archduke, 6, 9, 18, 28,

101, 136, 209
Russia, Emperor Alexander I.,

152
Russia, Empress of, 75

SAILERSTATTE, the, 147
Salieri, pupil of, 9
Schaden, Dr von, 5
Schenk, 8

Schindler, 86, 200, 201, 209
Schott, 33, 34
Schroder, Mdlle., 161
Schubert, 84
Schuppanzigh, pupil of, 7

Jokes on, 58-59
Schwarz-spanierhaus, the, 65
Sebald, Amalie, 74
Servants, troubles with, 66-69
Seyfried, 46
Sonata " Appassionata," 129

,, " Pathetique," 129
Sonatas, pianoforte, 241
Spohr, 22, 140
Stein, 158
Steiner, 191
Streicher, Frau von, 67
Stumpff, 41

Stutterheim, Baron von, 202
Swieten, Baron, 6, 143
Symphony No. I ; price paid for,

146
Symphony No. 4 ; price paid for,

317

Beethoven

TEACHER, as a, 6, 135
Temperament and characteristics,

51-56, 179
Thayer, 244
Tomaschek, 133

VIRTUOSO, as a, 9

WAGNER, 225, 226

Waldstein, Count, 6, 9

Wawruch, Dr, 40

Weber, 86

Weigl, 46

"Will," his so-called, 14, 149

Wolfmayer, Johann, 202

Wolf-Metternich, Countess, 75

Work, his last, 203

Works, List of, Appendix B, 266-

286
Works :—

Arrangements of Scotch Songs,

193

Choral Fantasia (op. 80), 167
Concertos —

In C major, 10

Pianoforte, 123

In B|> (op. 19), 130

In C minor (op. 37), 83, 146

In G (op. 58), 157-159

In D, for Violin (op. 61), 162

In E|j, for Piano and Or-
chestra (op. 73), 179
Cantatas —

" Der Glorreiche Augen-
blick," 192, 193

"Meerstille" (Calm Sea,&c.)

(op. 112), 193
Funeral Equale, 46, 47
"Liederkreis," 193, 248
Masses —

in C, 206

Missa Solennis, 19

Works : Masses — continued —

in D, 28, 34, 194
Operas —

" Prometheus" (op. 43), 146,

147, 148
"Fidelio" (op. 72), 157,

159, 160

"Egmont"(op. 84), 180
"Ruins of Athens "(op. 113),

180
"King Stephen" (op. 117),

180
Oratorios —

"Mount of Olives" (op. 85),

21, 146
Orchestral Pieces —

"Wellington's Victory," or
the Battle of Vittoria, 190,
191
Overtures —

"Coriolan" (op. 62), 167
"Leonora," 161
"Leonora" (No. i), 167
InCfop. 115), 193
"Weihe des Hauses" (op.

124), 194
Quartets —

6 String (op. 18), 130, 146
Three (op. 59), 157-159, 239
In E[> (op. 74), 179
In F minor (op. 95), 180
In EJ> (op. 127), 33, 201
In Bb (op. 130), 33, 201
In Qt minor (op. 131), 202
In A minor (op. 132), 33, 201
In F (op. 135), 202
Quintets —
In E|> (op. 16), 129
In C (op. 29), 148
Rondos — In A, for Piano, 123
Septets — (op. 28), 146

Index

Works : continued —
Sonatas —
In E[j (op. 7), 129
" Pathetique " (op. 13), 129
Piano (ops. 26, 27, 28), 148,

242
Piano and violin (op. 30),

149, 152

3 Piano (op. 31), 153, 242
"Kreutzer" (op. 47), 152,

153
" Waldstein " (op. 54), 154,

242
" Appassionata " (op. 57),

154, 242

In Fj (op. 78), 179
" Les adieux" (op. 8 1 A), 180
In E minor (op. 90), 193
In A (op. ioi), 193
Piano and violin in C and D

(op. 102), 193
In B|j (op. 106), 194
In E (op. 109), 29, 194
In A (op. no), 194
In C minor (op. in), 194
Symphonies —
No. I, 130

Works : Symphonies — continued —
No. 2 (op. 36), 149
No. 3 (op. 55) ("Eroica"),

98, 99, 154-157
No. 4 (op. 60), 162-166
No. 5 (op. 67), 167-169
No. 6 (op. 68) (" Pastoral"),

172-179

No. 7 (op. 92), 180-186
No. 8 (op. 93), 186-190
No. 9 (op. 125) (" Choral "),

16, 19, 29, 33, 193, 200
"Battle" Symphony, 190,

191

Trios—

Piano (3), op. I, 8
In E\> (compd. 1787), 123
Piano, violin and cello (op.

70), 167, 180

Variations —
On a March by Dressier

(compd. 1780), 122
On a Waltz (op. 120), 194
Wurfel, 46
Zambona, pupil of, 3
Zmeskall, 65, 66, 67, 77, 78

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